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Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients. DANNY (cont'd) This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time. The freaky cook sees something he doesn't like. His eyes widen. DANNY (cont'd) Oh-oh. A huge container of empty beer cans, washed and neatly arranged. Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally. A GROUP OF TWEAKERS in the middle of a binge. Two skinny women, NANCY and Teresa bent over a drawer-full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. They take the socks out and being rearranging them again. Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took mealy-mouthed. Creeper and Jimmy stare straight ahead, clearly bugging. And he does. KUJO (cont'd) Let's take every letter individually. I mean, let's really break the mother's down. DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in. DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY (cont'd) We've been at this for three days ... or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you wouldn't walk across the street to piss on one of 'em if their head was on fire. (beat) signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body LONG SHOT-Back on the Salton Sea, placid and silvered with moonlight. She is inches closer to him. Colette puts her arms around him and hugs him tight. The IMAGE OF THE SEA FLICKERS AND FADES behind them. CLOSE ON DANNY-holding Colette. Colette pulls back. DANNY (cont'd) But you gotta be serious about it. Danny goes over to the dresser. Takes out a baggie of meth. DANNY (cont'd) I want you to hide this somewhere where Quincy won't find it. Danny stalks her. DANNY (cont'd) Tommorrow night, when he is asleep. I want you to beep me at this number. He writes the number down on a dollar bill. Colette goes to protest. Danny puts his hand to her mouth the same way she did to him earlier. Jimmy looks hurt. DANNY (cont'd) I need you to do me a favor instead. Jimmy slides the money back over. Danny smiles, genuinely touched. Jimmy rolls his sleeve up, revealing a tattoo. Jimmy sits there, admiring the tattoo. Danny stares at Jimmy with pity. DANNY (cont'd) I really have to tell you something. It's important. Danny is deadpan. Jimmy starts laughing DANNY (cont'd) I'm not joking. Jimmy keeps laughing. Danny staring, deadpan, Jimmy slowly stops laughing. DANNY (cont'd) You asked me how I always keep my shit together. Well, that's how. Jimmy is agitated and confused. DANNY (cont'd) It's cool. I understand Danny gets up to leave. Danny taps Jimmy's arm. Jimmy rubs his arm where the tattoo is. Danny takes the envelope from his pocket. Danny tries to hive Jimmy the envelope. Jimmy pushes it away. Bubba hangs up. Danny turns the phone off. Danny hands the phone back to Garcetti Danny opens the back door. Danny gets out of the car. Shuts the door. As Danny approaches the truck, the | Who does Danny plunge the syringe of meth into? | Gus Morgan. |
door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients. DANNY (cont'd) This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time. The freaky cook sees something he doesn't like. His eyes widen. DANNY (cont'd) Oh-oh. A huge container of empty beer cans, washed and neatly arranged. Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally. A GROUP OF TWEAKERS in the middle of a binge. Two skinny women, NANCY and Teresa bent over a drawer-full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. They take the socks out and being rearranging them again. Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took mealy-mouthed. Creeper and Jimmy stare straight ahead, clearly bugging. And he does. KUJO (cont'd) Let's take every letter individually. I mean, let's really break the mother's down. DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in. DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY (cont'd) We've been at this for three days ... or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you wouldn't walk across the street to piss on one of 'em if their head was on fire. (beat) signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body Danny drops the card. Stares down at it as ... ... the blood from the floor pools out and engulfs the card. ON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred dollar bill. He draws the meth into a syringe then turns on the stereo with a remote. ... Garcetti's gun moving to the back of Pooh-Bear's head. Pooh-Bear about to plunge the drugs when GARCETTI FIRES. Pooh-Bear pitches forward, dead. The syringe falls to the floor. Tanner and Garcetti standing over him. They pull their ski masks off. Garcetti holsters his weapon and picks up the bag of money from the floor. GARCETTI (cont'd) Let's get out of here. A GUNSHOT. Garcetti goes down where he stands. He lays there twitching like a rabbit. Tanner staring down the sucker's end of Danny's gun. DANNY (cont'd) Tom Van Allen Danny raises his gun. Danny shoots Tanner in the shoulder. He collapses to the floor. ON GARCETTI - his eyes flutter and open. Danny walks over to Tanner and stands above him. DANNY (cont'd) ... there's two guys with masks and guns in the other room about to kill your wife. Tanner looks at Danny, confused. DANNY (cont'd) But you know if you go out there, they'll kill you, too. You'll both die. What do you do? Tanner realizes what Danny is talking about. DANNY (cont'd) Do you go out there and die like a man or do you live to fight another day? Tanner doesn't answer. Danny (cont'd) What do you do? Still no answer. DANNY (cont'd) Answer the question! Tanner is ghost white, loosing blood quickly. Danny (cont'd) What do you do! When Danny goes to shoot Tanner again ... ... Tanner pulls a K-BAR KNIFE house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear | Why did Danny's in-laws track him down? | They worried he was suffering from depression. |
Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear completely rusted out. The freeway rushes by underneath. Danny wonders what he's getting himself into. JIMMY (cont'd) You know, they say he hasn't slept in over a year. A GUY passes out in the front yard. A DOG sniffs at him, then starts pissing on him. He never moves. A PILE OF DEAD PIGEONS near the driveway. CLOSE ON POOH-BEAR - he does indeed have a prosthetic nose. It almost blends in with his face but not quite, making it that much more disconcerting. He takes a huge hit of crystal meth from a pipe, holds it, then blows a long exhale. A REMOTE CONTROLLED CAR trundles out of the garage and along the driveway. Inside the car, FOUR PIEGEONS, their bodies wrapped in tape. Pooh-Bear working the remote control device. POOH-BEAR (cont'd) Zapruder? A GUY filming the whole thing with a super-8 camera. GRAINY SUPER 8 FOOTAGE: the pigeons continue along, their stupid eyes glazed with confusion. ANOTHER GUY sighting a scoped pellet gun. A THIRD GUY aiming a pellet gun further down and to the right of "Oswald". THE THIRD SHOOTER is also armed with a pellet gun Pooh-Bear watches anxiously. GRAINY FOOTAGE: the car making a turn, the pigeons oblivious. POOH-BEAR (cont'd) Stand by, gentlemen. Stand by ... (beat, eyes widening) Steady .... steady ... FIRE! The three men open up simultaneously. GRAINY FOOTAGE: a mass of feathers flying as the pigeons are hit. Pooh-Bear pumps his fist. POOH-BEAR (cont'd) Yes! Yes! (beat) Out! That's a wrap. Good job, boys. Good job. The car continues rolling past the feet of ... ... Danny and Jimmy, who have been watching the whole thing from the periphery POOH-BEAR (cont'd) (to Danny and Jimmy) So? What do you think? Pooh-Bear takes the camera LONG SHOT-Back on the Salton Sea, placid and silvered with moonlight. She is inches closer to him. Colette puts her arms around him and hugs him tight. The IMAGE OF THE SEA FLICKERS AND FADES behind them. CLOSE ON DANNY-holding Colette. Colette pulls back. DANNY (cont'd) But you gotta be serious about it. Danny goes over to the dresser. Takes out a baggie of meth. DANNY (cont'd) I want you to hide this somewhere where Quincy won't find it. Danny stalks her. DANNY (cont'd) Tommorrow night, when he is asleep. I want you to beep me at this number. He writes the number down on a dollar bill. Colette goes to protest. Danny puts his hand to her mouth the same way she did to him earlier. Jimmy looks hurt. DANNY (cont'd) I need you to do me a favor instead. Jimmy slides the money back over. Danny smiles, genuinely touched. Jimmy rolls his sleeve up, revealing a tattoo. Jimmy sits there, admiring the tattoo. Danny stares at Jimmy with pity. DANNY (cont'd) I really have to tell you something. It's important. Danny is deadpan. Jimmy starts laughing DANNY (cont'd) I'm not joking. Jimmy keeps laughing. Danny staring, deadpan, Jimmy slowly stops laughing. DANNY (cont'd) You asked me how I always keep my shit together. Well, that's how. Jimmy is agitated and confused. DANNY (cont'd) It's cool. I understand Danny gets up to leave. Danny taps Jimmy's arm. Jimmy rubs his arm where the tattoo is. Danny takes the envelope from his pocket. Danny tries to hive Jimmy the envelope. Jimmy pushes it away. Bubba hangs up. Danny turns the phone off. Danny hands the phone back to Garcetti Danny opens the back door. Danny gets out of the car. Shuts the door. As Danny approaches the truck, the | Where did Danny hide the pistol when meeting with Pooh Bear? | He taped it under the table. |
house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body festooned with gold jewelry, his hair all wet jerry-curl. The kid speaks in a HUSKY MONOTONE, completely FLAT and HUMORLESS. He sounds like one of those kids selling candy door-to-door with a memorized pitch told by rote. KID (cont'd) (rapid fire delivery) Glock semi-automatic 9 mm. Tenifer matte finish, Polymer grip, fixed sights, 4 and 1/2 inch barrel, 22 ounces, double action and a 10 round magazine. Mister, I could hook you up with this gun for the low price of three hundred and "fitty" dollars - well below market value. (next gun, no pause) Tangfolio semi-automatic. This a 9mm too - seems to be the weapon of choice - try one and you'll understand why. Rubber grips, adjustable 3 dot sights, 4 and 1/2 inch barrel, 33 ounces. Check out the eye-catching extended beaver tail just above the grip. Got mad-ass double action and a surprising 16 round magazine. Mister, I want to sell you this gun and I can hook you up for the low price of 200 dollars. (next gun, breakneck pace) Maybe you looking for something in a chrome finish. Something to impress the ladies. This right here is a Llama Mini-Max .38 Super Auto. semi-automatic. Fresh satin chrome, black rubber grip, 3 dot fixed sights, 3 and 1/2 inch barrel, skeletonized hammer with an extended slide release, eight capacity magazine and single action. Mister, I won't lie to you, this gun is not the bomb - it'll do the job, KID (cont'd) but it ain't all that. That's why you can walk out of here with this gun for the incredible low price of one hundred and "fitty" dollar. (next one) Maybe you looking for power, mister. This gun got mad power, mad kick and mad reputation. and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA | Who killed Pooh Bear? | Garcetti. |
Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body confused and try to flush yourself? Garcetti (all business) You tell him? Garcetti sits down next to Danny. Sighs. Garcetti puts his hand on Danny's shoulder, really playing it up. Garcetti leans in close GARCETTI (cont'd) You know that thing where they slit your throat and pull your tongue out of the hole. Danny knocks Garcetti's hand away and stands up. Garcetti stalks him. GARCETTI (cont'd) Apparently they call it a necktie because it hangs down about yay long and looks very similar to a tie. Isn't that weird, Danny? Isn't that weird? Danny turns to Tanner Danny paces back and forth. TANNER (cont'd) And if you're that worried about it, maybe you ought to get out of town. Garcetti chuckles at Danny's fear A PICKUP TRUCK slowly winds its way up the access road towards Danny. Danny stands up. Dusts his pants off. The truck stops nearby. The strains of GARTH BROOKS from inside. Danny approaches. The passenger's side window rolls down revealing ... ... A BAD-ASSED ASIAN DUDE behind the wheel. He wears a cowboy hat and a rodeo belt. He looks like the Chinese Marlboro man. This is BUBBA. An AIRBRUSH painting on the door panel - a bad likeness of Bubba astride a horse, dressed as a cowboy with a huge-breasted Pamela Anderson-type on the saddle behind him. Bubba fires up a cigarette, revealing a pock-marked face. He carries a gun in a tooled leather shoulder holster. DANNY (cont'd) You consider my presentation? Danny climbs in. The window goes back up. As the care pulls away, we <b>... </b> ... MOVE back over to the gravestone. He has nothing to worry about with this crowd, harmless alcoholics all. Jimmy The Finn enters and approaches Danny. Danny | Who tracks Danny down? | His parents-in-law. |
and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body from "Zapruder". Oswald is standing over the car, prodding one of the pigeons with his pellet gun. OSWALD (cont'd) J.F.K.'s still alive. (beat) Should I finish him off? Pooh-Bear picks at a plate of SCRAMBLED EGGS on his lap. Pooh-Bear chews his food and nods. Pooh-Bear winks and shovels some more down. Danny looks surprised. It was too easy. Pooh-Bear takes another bite of eggs. Pooh-Bear puts the plate down. Pooh-Bear leans back, grinning broadly POOH-BEAR (cont'd) Dude shorted me eleven dollar ... thought I wouldn't count it till I got home. Wrong. (beat) You know what I did? (beat) I clamped his head in a vice. QUICK FLASH BACK: LOW ANGLE SLOW-MOTION CLOSE-UP of Pooh-Bear staring down at something OFFSCREEN, a menacing look on his face. BACK TO PRESENT: Pooh-Bear lights a cigarette BACK TO PRESENT: Danny getting nervous. POOH-BEAR (cont'd) So I'm standing there looking at this dude's brain and I'm thinking to myself, you know, this guy doesn't really need this thing. I mean, anyone stupid enough to jam me up doesn't really use their brain to begin with. You know what I'm saying? (beat, dead serious) So I took it. Pooh-Bear makes a POPPING SOUND as he illustrates with his hands. QUICK FLASH BACK: Pooh-Bear looking down at SOMETHING in his hand, his face blossoming into a sick smile. BACK TO PRESENT: Danny listens somberly. POOH-BEAR (cont'd) Hell, I make better use out of it than he ever did. Got it up in my freezer. I take it out from time-to- time, mix a little of it up in my dinner .... (looks at the plate of eggs) ... of breakfast. ON THE PLATE - little chunks of gray matter mixed in with the eggs. Pooh-Bear smiles knowingly. Danny turns pale. Danny decides cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients. DANNY (cont'd) This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time. The freaky cook sees something he doesn't like. His eyes widen. DANNY (cont'd) Oh-oh. A huge container of empty beer cans, washed and neatly arranged. Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally. A GROUP OF TWEAKERS in the middle of a binge. Two skinny women, NANCY and Teresa bent over a drawer-full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. They take the socks out and being rearranging them again. Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took mealy-mouthed. Creeper and Jimmy stare straight ahead, clearly bugging. And he does. KUJO (cont'd) Let's take every letter individually. I mean, let's really break the mother's down. DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in. DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY (cont'd) We've been at this for three days ... or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you wouldn't walk across the street to piss on one of 'em if their head was on fire. (beat) house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear | What did Danny tape to the bottom of the table? | A gun. |
Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients. DANNY (cont'd) This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time. The freaky cook sees something he doesn't like. His eyes widen. DANNY (cont'd) Oh-oh. A huge container of empty beer cans, washed and neatly arranged. Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally. A GROUP OF TWEAKERS in the middle of a binge. Two skinny women, NANCY and Teresa bent over a drawer-full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. They take the socks out and being rearranging them again. Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took mealy-mouthed. Creeper and Jimmy stare straight ahead, clearly bugging. And he does. KUJO (cont'd) Let's take every letter individually. I mean, let's really break the mother's down. DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in. DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY (cont'd) We've been at this for three days ... or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you wouldn't walk across the street to piss on one of 'em if their head was on fire. (beat) Is it three days or is it four? BACK ON DANNY. He blinks lethargically. DANNY (cont'd) I know what you're thinking. But don't give up on me just yet. And for God's sake, don't pity me. Don't make any judgments until you've seen my whole story. (beat) And keep your eyes open. (beat) Nothing is what it seems. The party house is revealed as a cheap stucco apartment building crammed in the middle of BUSY BUSINESS DISTRICT at a major intersection. Jimmy and Danny slip on sunglasses and brave the light. They slink along like two albino rat vampires with sunglasses. A GUY sitting on the bed in his underwear, looking down at his left arm and holding a can of BUG SPRAY at the ready in his right hand. He is completely motionless, studying his arm with hypnotic intensity. Bobby never takes his eyes off his arm. BOBBY (cont'd) (whispering) They're coming. Bobby readies the can of bug spray, his eyes widening. BOBBY (cont'd) (sing-song) I'm ready for you this time. Bobby lets loose with the spray, dousing his arm. Bobby's mouth wide with stupid joy and continues to cloud the air with bug spray. BOBBY (cont'd) With Bobby you thought you could fuck? Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied he has killed the imaginary spiders. He looks up at Jimmy and Danny, his eyes swimming with stupid, drug- addled confusion. BOBBY (cont'd) Who the fuck are you? Danny and Jimmy notice something simultaneously. There is something under the mattress - A HUGE BULGE. A MUFFLED MOAN from under Bobby. She is between the mattress and the box springs. BOBBY (cont'd) Shut the hell up, goddamit! Bobby starts slapping the top of the mattress with his hand. New MUFFLED SCREAMS from cash. Pockets the dope. MOVE UNDER THE TABLE - Danny's Glock taped to the underside, out of sight. Tanner produces a print out from an F.B.I criminal computer file. A MUG SHOT OF BUBBA. The name BUFORD "BUBBA" NGUYEN underneath. TANNER (cont'd) Nothing local so we ran his prints through the F.B.I. Believed to be a major supplier in Texas. Jumped bail on a murder rap last April. Danny heaves a sign and plops down on a bench. Danny looks up. He doesn't look happy. Photos of Liz on top of a baby grand piano. A SHRINE OF SORTS. CATHOLIC ICONS ABOUND: crucifixes, Virgin Mary's, needle point prayers. A KNOCK ON THE DOOR. Nancy gets up to answer. Nancy and Verne look at one another. Nancy pours the coffee. NANCY (cont'd) Billy's a cop now, you know. Danny pushes away from the table. Nancy grabs Danny's wrist. Danny stays put. NANCY (cont'd) I know everyone deals with grief in their own way. I know how hard it is to find closure. Danny looks at the shrine to Liz on top of the piano. Verne's silence is answer enough. DANNY (cont'd) I don't blame you for hating me. At least I understand that. (back to Nancy) But forgiving the butchers who killed Liz well I'm having some trouble with that one. Danny touches Nancy's hand tenderly. Verne slams his hand down on the table. Verne glares at Danny. No forgiveness in his heart. VERNE (cont'd) You ever think you might be buying drugs from the very people who took her life? Danny starts to say something. Stops. He is endorsing the back of a life insurance check. His Tom Van Allen driver's license laying next to it. He pockets the | What drug is Danny addicted to? | Meth. |
That's right, it's the Colt .357 Magnum revolver. Rubber combat-style grip, fixed rear, ramp front sights, 2 inch barrel. Weighs in at a feather-like 21 ounces. 6 shot capacity with double action. Mister, if you're looking for impact, the Magnum will satisfy all of your needs. (the last gun) I don't know you, mister, but you look like a man of style so maybe you in the market for a custom piece. Mister, it's your lucky day 'cause this gun got style to burn. You lookin' at the Les Baer Custom Premier Tactical 45. Fresh blue finish, deluxe grips, 5 inch barrel, 37 ounces, guaranteed to shoot 1 1/2 groups at a distance of 50 yards. Aluminum speed trigger, throated barrel, single action with 12 shot capacity magazine. I could see you with this gun, mister. And I can give it to you for the low price of seven hundred and ninety-five dollars. Mister, these are my guns. All sales are final, and all prices are negotiable. He finishes .... staring at ... Danny and Jimmy, standing there, wide-eyed and amazed by the incredible sales pitch. Danny pockets the GLOCK he just purchased. He also carries a BULLET- PROOF VEST over this shoulder. They walk along. They continue on. Jimmy looks at the vest. Danny at his door, fumbling with his keys, watching the dude. The dude looks down at this beat-up motorcycle boots. The dude ignores Danny and keeps pounding on the door. DANNY (cont'd) Goodbye now. Nice meeting you. The sounds of a struggle. Colette screams. The dude yelling at the top of his lungs. A LOUD SMACK. SILENCE. Colette sobbing. The dude talking in hushed tones, contrite. ... the floorboard, or lack thereof. It is festooned with gold jewelry, his hair all wet jerry-curl. The kid speaks in a HUSKY MONOTONE, completely FLAT and HUMORLESS. He sounds like one of those kids selling candy door-to-door with a memorized pitch told by rote. KID (cont'd) (rapid fire delivery) Glock semi-automatic 9 mm. Tenifer matte finish, Polymer grip, fixed sights, 4 and 1/2 inch barrel, 22 ounces, double action and a 10 round magazine. Mister, I could hook you up with this gun for the low price of three hundred and "fitty" dollars - well below market value. (next gun, no pause) Tangfolio semi-automatic. This a 9mm too - seems to be the weapon of choice - try one and you'll understand why. Rubber grips, adjustable 3 dot sights, 4 and 1/2 inch barrel, 33 ounces. Check out the eye-catching extended beaver tail just above the grip. Got mad-ass double action and a surprising 16 round magazine. Mister, I want to sell you this gun and I can hook you up for the low price of 200 dollars. (next gun, breakneck pace) Maybe you looking for something in a chrome finish. Something to impress the ladies. This right here is a Llama Mini-Max .38 Super Auto. semi-automatic. Fresh satin chrome, black rubber grip, 3 dot fixed sights, 3 and 1/2 inch barrel, skeletonized hammer with an extended slide release, eight capacity magazine and single action. Mister, I won't lie to you, this gun is not the bomb - it'll do the job, KID (cont'd) but it ain't all that. That's why you can walk out of here with this gun for the incredible low price of one hundred and "fitty" dollar. (next one) Maybe you looking for power, mister. This gun got mad power, mad kick and mad reputation. door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA completely rusted out. The freeway rushes by underneath. Danny wonders what he's getting himself into. JIMMY (cont'd) You know, they say he hasn't slept in over a year. A GUY passes out in the front yard. A DOG sniffs at him, then starts pissing on him. He never moves. A PILE OF DEAD PIGEONS near the driveway. CLOSE ON POOH-BEAR - he does indeed have a prosthetic nose. It almost blends in with his face but not quite, making it that much more disconcerting. He takes a huge hit of crystal meth from a pipe, holds it, then blows a long exhale. A REMOTE CONTROLLED CAR trundles out of the garage and along the driveway. Inside the car, FOUR PIEGEONS, their bodies wrapped in tape. Pooh-Bear working the remote control device. POOH-BEAR (cont'd) Zapruder? A GUY filming the whole thing with a super-8 camera. GRAINY SUPER 8 FOOTAGE: the pigeons continue along, their stupid eyes glazed with confusion. ANOTHER GUY sighting a scoped pellet gun. A THIRD GUY aiming a pellet gun further down and to the right of "Oswald". THE THIRD SHOOTER is also armed with a pellet gun Pooh-Bear watches anxiously. GRAINY FOOTAGE: the car making a turn, the pigeons oblivious. POOH-BEAR (cont'd) Stand by, gentlemen. Stand by ... (beat, eyes widening) Steady .... steady ... FIRE! The three men open up simultaneously. GRAINY FOOTAGE: a mass of feathers flying as the pigeons are hit. Pooh-Bear pumps his fist. POOH-BEAR (cont'd) Yes! Yes! (beat) Out! That's a wrap. Good job, boys. Good job. The car continues rolling past the feet of ... ... Danny and Jimmy, who have been watching the whole thing from the periphery POOH-BEAR (cont'd) (to Danny and Jimmy) So? What do you think? Pooh-Bear takes the camera He is playing Miles Davis' moody, Spanish-influenced SAETA, a haunting and lonely piece. A DUFFLE BAG FULL OF MONEY ON THE BED. The money burning, tiny flaming pieces floating around the room. DANNY (cont'd) ... I don't know anymore. (beat) Maybe I'll let you decide. Maybe you can help me, friend. As you can see, I don't have a hell of a lot of time left. A PHOTOGRAPH of a woman taped to the inside of a trumpet case. The photo is on fire. Only her smile remains. DANNY (cont'd) Avenging angel ... Judas Iscariot ... Loving husband ... Prodigal Son ... The prince of Denmark ...? A GREETING CARD on the floor, a teddy bear and the word, CONGRATULATIONS! on the front. The wind from the fire blows the card open. Inside, a BLACKENED BLOOD STAIN. DANNY (cont'd) All of these? None of these? You decide, friend. You decide. Trumpet player? Speed freak? (beat) Speed freak. (beat) That's as good a place as any. (beat) But first, a little background on the mad world of the tweaker .. STOCK BATTLE FOOTAGE - a Japanese Zero crashes into a battleship, bursting into a ball of flames. She attacks the same spot over and over again, one hand clutching the vacuum, the other stiffly holding a cigarette. DANNY (cont'd) Now that's a classic speed freak for you, skinny and cleaning the house. I'll bet her poor husband never knew what hit him in the sack either. Kennedy talking animatedly. DANNY (cont'd) If it's true, I'll bet ol' Krushchev never got a word in edgewise. The cashier looks up at the aforementioned FREAK, a frozen grin plastered on his face. DANNY (cont'd) Take it from me, he ain't got no cold. He's a | Who damaged their noise due to snorting a lot of meth? | Pooh Bear. |
festooned with gold jewelry, his hair all wet jerry-curl. The kid speaks in a HUSKY MONOTONE, completely FLAT and HUMORLESS. He sounds like one of those kids selling candy door-to-door with a memorized pitch told by rote. KID (cont'd) (rapid fire delivery) Glock semi-automatic 9 mm. Tenifer matte finish, Polymer grip, fixed sights, 4 and 1/2 inch barrel, 22 ounces, double action and a 10 round magazine. Mister, I could hook you up with this gun for the low price of three hundred and "fitty" dollars - well below market value. (next gun, no pause) Tangfolio semi-automatic. This a 9mm too - seems to be the weapon of choice - try one and you'll understand why. Rubber grips, adjustable 3 dot sights, 4 and 1/2 inch barrel, 33 ounces. Check out the eye-catching extended beaver tail just above the grip. Got mad-ass double action and a surprising 16 round magazine. Mister, I want to sell you this gun and I can hook you up for the low price of 200 dollars. (next gun, breakneck pace) Maybe you looking for something in a chrome finish. Something to impress the ladies. This right here is a Llama Mini-Max .38 Super Auto. semi-automatic. Fresh satin chrome, black rubber grip, 3 dot fixed sights, 3 and 1/2 inch barrel, skeletonized hammer with an extended slide release, eight capacity magazine and single action. Mister, I won't lie to you, this gun is not the bomb - it'll do the job, KID (cont'd) but it ain't all that. That's why you can walk out of here with this gun for the incredible low price of one hundred and "fitty" dollar. (next one) Maybe you looking for power, mister. This gun got mad power, mad kick and mad reputation. house. Danny stares straight ahead, steering the car towards the house. Danny doesn't answer. LIZ (cont'd) I never once asked you to stop playing. I wouldn't dream of it. So don't take your low self-esteem out on me. Danny continues to ignore her. But the DANNY IN THE IMAGE never answers. The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS <b>BED. </b> Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER. Danny quietly playing chords on a beat-up old upright piano in the back of the room - the through-line of Davis' "All Blues." Danny looks up. Colette sits down on the piano bench next to Danny. COLETTE (cont'd) Please keep playing. He continues. She sits there listening for a few moments. COLETTE (cont'd) That's nice. What is it? Danny continues to play. Colette slides closer. She pulls even closer. She goes to kiss him. Danny stops playing. Pulls away from her. She puts her hand on his leg. COLETTE (cont'd) Just relax. He moves his leg away. He closes the keyboard cover. Danny looking at a MUG SHOT OF POOH-BEAR. Garcetti Harlan Dale Monty a.k.a. Pooh-Bear. Did five years manslaughter for beating a pimp to death with an electric wheelchair. Danny doesn't look reassured. Garcetti and Tanner exchange a smile. Danny's eyes dart back and forth between Garcetti and Tanner. Garcetti and Tanner break out laughing. Danny reacts to the name, not listening to the rest of what Garcetti and Tanner have to say. Danny lost in thought. Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and hands Danny the keys. Danny burns rubber. Pooh-Bear doesn't look up. He is preoccupied with something in his hand which he is cleaning with a toothbrush. Pooh-Bear completely rusted out. The freeway rushes by underneath. Danny wonders what he's getting himself into. JIMMY (cont'd) You know, they say he hasn't slept in over a year. A GUY passes out in the front yard. A DOG sniffs at him, then starts pissing on him. He never moves. A PILE OF DEAD PIGEONS near the driveway. CLOSE ON POOH-BEAR - he does indeed have a prosthetic nose. It almost blends in with his face but not quite, making it that much more disconcerting. He takes a huge hit of crystal meth from a pipe, holds it, then blows a long exhale. A REMOTE CONTROLLED CAR trundles out of the garage and along the driveway. Inside the car, FOUR PIEGEONS, their bodies wrapped in tape. Pooh-Bear working the remote control device. POOH-BEAR (cont'd) Zapruder? A GUY filming the whole thing with a super-8 camera. GRAINY SUPER 8 FOOTAGE: the pigeons continue along, their stupid eyes glazed with confusion. ANOTHER GUY sighting a scoped pellet gun. A THIRD GUY aiming a pellet gun further down and to the right of "Oswald". THE THIRD SHOOTER is also armed with a pellet gun Pooh-Bear watches anxiously. GRAINY FOOTAGE: the car making a turn, the pigeons oblivious. POOH-BEAR (cont'd) Stand by, gentlemen. Stand by ... (beat, eyes widening) Steady .... steady ... FIRE! The three men open up simultaneously. GRAINY FOOTAGE: a mass of feathers flying as the pigeons are hit. Pooh-Bear pumps his fist. POOH-BEAR (cont'd) Yes! Yes! (beat) Out! That's a wrap. Good job, boys. Good job. The car continues rolling past the feet of ... ... Danny and Jimmy, who have been watching the whole thing from the periphery POOH-BEAR (cont'd) (to Danny and Jimmy) So? What do you think? Pooh-Bear takes the camera That's right, it's the Colt .357 Magnum revolver. Rubber combat-style grip, fixed rear, ramp front sights, 2 inch barrel. Weighs in at a feather-like 21 ounces. 6 shot capacity with double action. Mister, if you're looking for impact, the Magnum will satisfy all of your needs. (the last gun) I don't know you, mister, but you look like a man of style so maybe you in the market for a custom piece. Mister, it's your lucky day 'cause this gun got style to burn. You lookin' at the Les Baer Custom Premier Tactical 45. Fresh blue finish, deluxe grips, 5 inch barrel, 37 ounces, guaranteed to shoot 1 1/2 groups at a distance of 50 yards. Aluminum speed trigger, throated barrel, single action with 12 shot capacity magazine. I could see you with this gun, mister. And I can give it to you for the low price of seven hundred and ninety-five dollars. Mister, these are my guns. All sales are final, and all prices are negotiable. He finishes .... staring at ... Danny and Jimmy, standing there, wide-eyed and amazed by the incredible sales pitch. Danny pockets the GLOCK he just purchased. He also carries a BULLET- PROOF VEST over this shoulder. They walk along. They continue on. Jimmy looks at the vest. Danny at his door, fumbling with his keys, watching the dude. The dude looks down at this beat-up motorcycle boots. The dude ignores Danny and keeps pounding on the door. DANNY (cont'd) Goodbye now. Nice meeting you. The sounds of a struggle. Colette screams. The dude yelling at the top of his lungs. A LOUD SMACK. SILENCE. Colette sobbing. The dude talking in hushed tones, contrite. ... the floorboard, or lack thereof. It is from "Zapruder". Oswald is standing over the car, prodding one of the pigeons with his pellet gun. OSWALD (cont'd) J.F.K.'s still alive. (beat) Should I finish him off? Pooh-Bear picks at a plate of SCRAMBLED EGGS on his lap. Pooh-Bear chews his food and nods. Pooh-Bear winks and shovels some more down. Danny looks surprised. It was too easy. Pooh-Bear takes another bite of eggs. Pooh-Bear puts the plate down. Pooh-Bear leans back, grinning broadly POOH-BEAR (cont'd) Dude shorted me eleven dollar ... thought I wouldn't count it till I got home. Wrong. (beat) You know what I did? (beat) I clamped his head in a vice. QUICK FLASH BACK: LOW ANGLE SLOW-MOTION CLOSE-UP of Pooh-Bear staring down at something OFFSCREEN, a menacing look on his face. BACK TO PRESENT: Pooh-Bear lights a cigarette BACK TO PRESENT: Danny getting nervous. POOH-BEAR (cont'd) So I'm standing there looking at this dude's brain and I'm thinking to myself, you know, this guy doesn't really need this thing. I mean, anyone stupid enough to jam me up doesn't really use their brain to begin with. You know what I'm saying? (beat, dead serious) So I took it. Pooh-Bear makes a POPPING SOUND as he illustrates with his hands. QUICK FLASH BACK: Pooh-Bear looking down at SOMETHING in his hand, his face blossoming into a sick smile. BACK TO PRESENT: Danny listens somberly. POOH-BEAR (cont'd) Hell, I make better use out of it than he ever did. Got it up in my freezer. I take it out from time-to- time, mix a little of it up in my dinner .... (looks at the plate of eggs) ... of breakfast. ON THE PLATE - little chunks of gray matter mixed in with the eggs. Pooh-Bear smiles knowingly. Danny turns pale. Danny decides | Who is Colette? | Danny's neighbor. |
(beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA Danny's eyes flutter as he seemingly continues to float. DANNY (cont'd) Am I dead? A linoleum floor rushes underneath. DANNY (cont'd) Linoleum. This must be hell. Danny head sags, finds himself staring at ... ... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks. Stairs rush by underneath. Then another hallway. DANNY'S P.O.V. - a bright white light at the end of the hall. DANNY (cont'd) Oh no. What a fucking cliché. On Danny's face, floating through the hall. His eyes fluttering. MOVING TOWARDS the light. Closer. Closer. Danny's eyes close, his head droops. CLOSE ON DANNY as his eyes flutter and open. DANNY'S P.O.V. - an image slowly coming into focus ... ... JIMMY staring down at him with concern. Danny blinks his eyes again. Looks up at ... ... A PARAMEDIC working on him. Danny smiles a weak smile at Jimmy. Jimmy just sits there, nodding his head, a big shit-eating grin on his face. The paramedic continues to work on Danny. His eyes slowly close. Danny looks through the window of the shop. Colette inside, working the counter, pouring coffee. DANNY (cont'd) But what about this guy? Who is he? Danny enters the shop. DANNY (cont'd) To tell you the truth, I don't know yet. DANNY (cont'd) But I like his chances. They stare at one another for a beat, then smile. Colette pours him some coffee. DANNY (cont'd) I really like his chances. They strike up a conversation as we ... signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body cook. Look in his kitchen and you'll find a whole grocery list of unsavory ingredients. DANNY (cont'd) This guy's a regular Julia Child. Problem is, I'll be even Miss Julia fucks up the bouillabaisse from time to time. The freaky cook sees something he doesn't like. His eyes widen. DANNY (cont'd) Oh-oh. A huge container of empty beer cans, washed and neatly arranged. Lines of crystal meth on a mirror as precisely arranged as Nails as the Nuremberg rally. A GROUP OF TWEAKERS in the middle of a binge. Two skinny women, NANCY and Teresa bent over a drawer-full of neatly folded socks on the living room floor. They stare at the drawer as if they were pondering a Rembrandt. They take the socks out and being rearranging them again. Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took mealy-mouthed. Creeper and Jimmy stare straight ahead, clearly bugging. And he does. KUJO (cont'd) Let's take every letter individually. I mean, let's really break the mother's down. DANNY is sitting in an armchair. He is the only one who looks tired. He sits there, taking the scene in. DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS. DANNY (cont'd) We've been at this for three days ... or is it four? Tweakerrs, lokers, slammers coming and going, swearing eternal allegiance and undying love for one another, only to wake up after the binge and realize you wouldn't walk across the street to piss on one of 'em if their head was on fire. (beat) | What happened to Danny's first wife? | She was gunned down. |
(beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body to nerve it out Danny gets up to leave. One of his hands shaking uncontrollably. He steadies it with the other hand. Danny goes to leave again. Pooh-Bear stands up. POOH-BEAR (cont'd) You got a deal. They shake hands. Pooh-Bear takes something from the kitchen counter and tosses it on the table ... ... a store-bought package of COW BRAINS. QUICK FLASH BACK: REVEAL that Pooh-Bear has been standing at the meat section in a GROCERY STORE. He is looking down at the package of COW BRAINS in his hand. Pooh-Bear tosses the package in his cart and walks away, whistling. Danny has been had. Pooh-Bear laughs uproariously. Jimmy holds out a bullet dispenser of crank. Jimmy pockets the drugs. Jimmy drives for a while, then ... Danny, Jimmy, Kujo and Creeper sitting in a booth. Jimmy and Creeper are amped, jaws grinding, eyes bugging. Kujo rambles on but Danny isn't listening. He looks exhausted, his face is pinched, there are bags under his eyes. He scans the bar, stopping on ... Colette sees Danny looking. Smiles at him. Danny returns the smile until the trashy dude looks over. Danny looks away. Kujo leans in and lowers his voice Danny shakes his head in amazement, then looks back at Colette again. She sneaks another look at him. ON THE TABLE - Kujo slides a drink glass in front of him. Danny amused by the conversation. He sees something out of the corner of his eye ... The boyfriend kissing Colette roughly. She obviously isn't enjoying it. Danny watching intently. KUJO (cont'd) Danny, come on. If I'm gonna let you in on the opportunity of a lifetime, the least you can do is pay attention. Danny turns back to the table. Kujo slides another and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get | What does Morgan find out about the gun Danny is holding? | It is empty. |
door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body from "Zapruder". Oswald is standing over the car, prodding one of the pigeons with his pellet gun. OSWALD (cont'd) J.F.K.'s still alive. (beat) Should I finish him off? Pooh-Bear picks at a plate of SCRAMBLED EGGS on his lap. Pooh-Bear chews his food and nods. Pooh-Bear winks and shovels some more down. Danny looks surprised. It was too easy. Pooh-Bear takes another bite of eggs. Pooh-Bear puts the plate down. Pooh-Bear leans back, grinning broadly POOH-BEAR (cont'd) Dude shorted me eleven dollar ... thought I wouldn't count it till I got home. Wrong. (beat) You know what I did? (beat) I clamped his head in a vice. QUICK FLASH BACK: LOW ANGLE SLOW-MOTION CLOSE-UP of Pooh-Bear staring down at something OFFSCREEN, a menacing look on his face. BACK TO PRESENT: Pooh-Bear lights a cigarette BACK TO PRESENT: Danny getting nervous. POOH-BEAR (cont'd) So I'm standing there looking at this dude's brain and I'm thinking to myself, you know, this guy doesn't really need this thing. I mean, anyone stupid enough to jam me up doesn't really use their brain to begin with. You know what I'm saying? (beat, dead serious) So I took it. Pooh-Bear makes a POPPING SOUND as he illustrates with his hands. QUICK FLASH BACK: Pooh-Bear looking down at SOMETHING in his hand, his face blossoming into a sick smile. BACK TO PRESENT: Danny listens somberly. POOH-BEAR (cont'd) Hell, I make better use out of it than he ever did. Got it up in my freezer. I take it out from time-to- time, mix a little of it up in my dinner .... (looks at the plate of eggs) ... of breakfast. ON THE PLATE - little chunks of gray matter mixed in with the eggs. Pooh-Bear smiles knowingly. Danny turns pale. Danny decides confused and try to flush yourself? Garcetti (all business) You tell him? Garcetti sits down next to Danny. Sighs. Garcetti puts his hand on Danny's shoulder, really playing it up. Garcetti leans in close GARCETTI (cont'd) You know that thing where they slit your throat and pull your tongue out of the hole. Danny knocks Garcetti's hand away and stands up. Garcetti stalks him. GARCETTI (cont'd) Apparently they call it a necktie because it hangs down about yay long and looks very similar to a tie. Isn't that weird, Danny? Isn't that weird? Danny turns to Tanner Danny paces back and forth. TANNER (cont'd) And if you're that worried about it, maybe you ought to get out of town. Garcetti chuckles at Danny's fear A PICKUP TRUCK slowly winds its way up the access road towards Danny. Danny stands up. Dusts his pants off. The truck stops nearby. The strains of GARTH BROOKS from inside. Danny approaches. The passenger's side window rolls down revealing ... ... A BAD-ASSED ASIAN DUDE behind the wheel. He wears a cowboy hat and a rodeo belt. He looks like the Chinese Marlboro man. This is BUBBA. An AIRBRUSH painting on the door panel - a bad likeness of Bubba astride a horse, dressed as a cowboy with a huge-breasted Pamela Anderson-type on the saddle behind him. Bubba fires up a cigarette, revealing a pock-marked face. He carries a gun in a tooled leather shoulder holster. DANNY (cont'd) You consider my presentation? Danny climbs in. The window goes back up. As the care pulls away, we <b>... </b> ... MOVE back over to the gravestone. He has nothing to worry about with this crowd, harmless alcoholics all. Jimmy The Finn enters and approaches Danny. Danny Danny drops the card. Stares down at it as ... ... the blood from the floor pools out and engulfs the card. ON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred dollar bill. He draws the meth into a syringe then turns on the stereo with a remote. ... Garcetti's gun moving to the back of Pooh-Bear's head. Pooh-Bear about to plunge the drugs when GARCETTI FIRES. Pooh-Bear pitches forward, dead. The syringe falls to the floor. Tanner and Garcetti standing over him. They pull their ski masks off. Garcetti holsters his weapon and picks up the bag of money from the floor. GARCETTI (cont'd) Let's get out of here. A GUNSHOT. Garcetti goes down where he stands. He lays there twitching like a rabbit. Tanner staring down the sucker's end of Danny's gun. DANNY (cont'd) Tom Van Allen Danny raises his gun. Danny shoots Tanner in the shoulder. He collapses to the floor. ON GARCETTI - his eyes flutter and open. Danny walks over to Tanner and stands above him. DANNY (cont'd) ... there's two guys with masks and guns in the other room about to kill your wife. Tanner looks at Danny, confused. DANNY (cont'd) But you know if you go out there, they'll kill you, too. You'll both die. What do you do? Tanner realizes what Danny is talking about. DANNY (cont'd) Do you go out there and die like a man or do you live to fight another day? Tanner doesn't answer. Danny (cont'd) What do you do? Still no answer. DANNY (cont'd) Answer the question! Tanner is ghost white, loosing blood quickly. Danny (cont'd) What do you do! When Danny goes to shoot Tanner again ... ... Tanner pulls a K-BAR KNIFE | Who leads the FBI to the wrong location? | Danny & Jimmy |
(beat) I'm going now! After a moment, the door swings open. Danny is holding the can out with a big smile on his face. DANNY (cont'd) You really oughta be more careful. This is not a good neighborhood. The woman smiles. A pretty smile. Sad too. She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad and sexy. DANNY (cont'd) My name is Danny Flynne. (off her silence) And you are? She closes the door abruptly. He emerges from the shower, a towel wrapped around his waist. There is a BIG STAR-SHAPED SCAR on Danny's shoulder. He walks over to the closet, takes a METAL LOCKBOX from the top shelf and puts it on the bed. Pulls a key from his pocket and unlocks the box. He sits there staring at the contents for a moment, then gingerly takes them out ... ... CLOTHES. A white dress shirt, black slacks and wingtips. ... A TRUMPET CASE. He walks over to the cheap vanity and sits down in front of the mirror and stars for a very long time. He slowly opens the trumpet case revealing a GLEAMING HORN inside. Runs his fingers along the length of it and up to ... ... A PHOTO OF A WOMAN taped to the inside of the lid. A self- conscious smile on her face like she's uncomfortable with having her picture taken. DANNY (cont'd) (distant) My name is Tom Van Allen. I play the trumpet. He takes the trumpet from the case - A CHECK from a LIFE INSURANCE COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM <b>VAN ALLEN. </b> DANNY (cont'd) My name is Tom Van Allen and I play the trumpet. He starts to play. door slides open. He piles in. Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands it to... ...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT. ...Danny and Bubba, sitting at the head of the table. BUBBA is now wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He stands up and addresses the group. And he really does have a SOUTHERN ACCENT. Danny looks self-conscious. TRAHN (cont'd) About a year and half ago, Mr. Van Allen's wife was murdered at a meth lab out near the Salton Sea. No one was ever apprehended for the crime but local authorities have always assumed it was a hit and grab perpetrated by rival drug dealers. That is, until Tom here took it upon himself to conduct a one-man undercover operation at great risk to his own personal safety. One of the agents pipes up... Trahn turns to Danny. Danny shakes his head. BOOKMAN (cont'd) Was it a truck? S.U.V.? Sedan? ANOTHER DETECTIVE enters the room, hands something to bookman, then whispers into Bookman's ear. Bookman nods. BOOKMAN (cont'd) You said one of the perpetrators crossed in front of the headlights ... Bookman holds up a small plastic evidence baggie. Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR. ON DANNY staring at the hair, remembering something... On the other side of the pump, A RED HAIRED MAN with a bad comb-over. The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE <b>RUNNING THROUGH IT. </b> His back is TURNED. We can't see his face. His arm and hands resting on top of the pump. Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL <b>CAMINO COLLEGE, CLASS OF '84. </b> <b>INT. SALTON SEA signals for Jimmy to go to the back, then gets up and follows him, carrying two beers. Jimmy has dark circles under his eyes. Jimmy sighs, scratches his arms. They are all scabbed up. DANNY (cont'd) You see the crank bugs? Jimmy finishes his beer. Danny signals to the cocktail waitress for more beer. DANNY (cont'd) You hear about Bobby? Danny smiles at Jimmy's choice of words. JIMMY (cont'd) He was a good supplier. (gets an idea) You think maybe there's any drugs left in his room? You know, like hidden? The beers arrive. Jimmy lays into his, downing it in one long gulp. Danny slides his over. Jimmy shakes his head in wonder. Jimmy's a drug-addled eyes catch a glimmer. Jimmy sucks what's left of his beer down. JIMMY (cont'd) What's in it for us? Jimmy becomes paralyzed by the math. A RED CAR approaches from the opposite direction. It SLOWS as it passes Danny. Danny looks over. The DRIVER is obscured by the reflected glare of a streetlight, but it is obvious that he is staring right at Danny. Danny plays it cool. Keeps walking. The red car pulls a SLOW U-TURN. Danny hauls ass. The red car catching up. 7Danny runs down a service street which runs through the back of a series of apartment complexes. The red car follows, slowly prowling the street. Danny squeezed behind a dumpster, watching. It is now too dark to see the driver. The car comes to a stop. Danny hugging the dumpster tight. Another car pulls into the tight street, behind the red car. The driver of the other car SOUNDS HIS HORN. The red car speeds off. Danny walks quickly the other way. He is squeezed into a terry-cloth jumpsuit, his body and out in no time. He hustles back into his car and drives away. Garcetti putting a phony license plate. Tanner sifting through the trunk. Danny in the motel office, checking in. TWO WORKMEN, repairing the motel sign out front. The workman watch Danny head into a room at the far end of the facility. As he enters the room ... Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat. Trahn checks his watch, then KNOCKS ON THE DOOR. TRAHN (cont'd) Any word from Pooh-Bear? Danny shakes his head. TRAHN (cont'd) You okay, hoss? REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND. Danny pulls up in a rental car. He looks at his hand again. It continues to shake. He takes a deep breath. Danny takes a gym bag out of the trunk and approaches Pooh-Bear's house. They get out of the car and trek down the bluff towards the house. IN THE KITCHEN - Danny enters and stops. A worried look. Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently. They look like ex-cons. The other guys snicker, one of them almost spitting his beer out. Danny smiles good-naturedly. Shoots a look over at ... ... one of the guys sitting where he taped his gun earlier. He throws the bag on the table, knocking a beer into the guys lap. The guy springs up, pissed off. Danny moves over and plops down in the guys seat. UNDER THE TABLE - Danny fumbling with the gun, trying to untape it without being too obvious. Pooh-Bear unzips the bag. Inside, a lot of cash. Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and walks over. Danny continues trying to get confused and try to flush yourself? Garcetti (all business) You tell him? Garcetti sits down next to Danny. Sighs. Garcetti puts his hand on Danny's shoulder, really playing it up. Garcetti leans in close GARCETTI (cont'd) You know that thing where they slit your throat and pull your tongue out of the hole. Danny knocks Garcetti's hand away and stands up. Garcetti stalks him. GARCETTI (cont'd) Apparently they call it a necktie because it hangs down about yay long and looks very similar to a tie. Isn't that weird, Danny? Isn't that weird? Danny turns to Tanner Danny paces back and forth. TANNER (cont'd) And if you're that worried about it, maybe you ought to get out of town. Garcetti chuckles at Danny's fear A PICKUP TRUCK slowly winds its way up the access road towards Danny. Danny stands up. Dusts his pants off. The truck stops nearby. The strains of GARTH BROOKS from inside. Danny approaches. The passenger's side window rolls down revealing ... ... A BAD-ASSED ASIAN DUDE behind the wheel. He wears a cowboy hat and a rodeo belt. He looks like the Chinese Marlboro man. This is BUBBA. An AIRBRUSH painting on the door panel - a bad likeness of Bubba astride a horse, dressed as a cowboy with a huge-breasted Pamela Anderson-type on the saddle behind him. Bubba fires up a cigarette, revealing a pock-marked face. He carries a gun in a tooled leather shoulder holster. DANNY (cont'd) You consider my presentation? Danny climbs in. The window goes back up. As the care pulls away, we <b>... </b> ... MOVE back over to the gravestone. He has nothing to worry about with this crowd, harmless alcoholics all. Jimmy The Finn enters and approaches Danny. Danny | Where was Danny's first wife gunned down? | Salton Sea. |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and follows, holding a manuscript. Shakespeare looks shocked. She starts to SCREAM and yell as she pulls a sheet to cover herself. She does so as Oxford walks over to Shakespeare. He tosses the manuscript to him. Shakespeare starts to look at it. The whore is partially dressed, so-- Shakespeare gives a look to Oxford-- he certainly isn't going to pay for it. Oxford nods to Francesco, who gives the whore a few coins. She smiles, and leaves. Shakespeare looks confused. Oxford tosses a very large pouch of coins at him, and then begins to leave. Renaissance MUSIC BEGINS as we-- The printer nods his approval... The poem continues with: We are: They look up and see-- Elizabeth silently walks over to them, and picks up the book. She opens it as we-- Robert Cecil enters. Robert Cecil shuts his mouth. She doesn't have to say which one. Robert Cecil sees a copy of "Venus and Adonis" on a table. He NODS. Robert Cecil knows to be silent. She looks out the window. She smiles seductively, transported in time. Elizabeth's eyes flare in anger for an instant, then she regains composure. Robert Cecil nods. Robert Cecil hesitates. She seems surprised. Perhaps she was expecting Essex. But then she smiles, and NODS in approval. Elizabeth goes into a rage. Robert Cecil is surprised by her fury. He bows his head as Elizabeth tries to collect herself. She says no more, the audience over. Robert Cecil hesitates, and then she glares at him... He bows and exits, the fury on his face plain. Elizabeth looks at her own reflection in the window... He pauses when he sees a poster in front advertising a performance of "Richard III" on Monday next. The actor Condell is on stage, rehearsing the character Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William looks down at the manuscript, reads a few lines. He looks up, but Oxford is gone, having left the maze without so much as a good-bye. But before he can follow, Francesco tosses a leather pouch of coins at his feet. And Francesco follows after his master as Jonson picks up the pouch, examining its contents. And then Jonson realizes he doesn't know how to get out of the maze. He chases after them. And he's lost. He looks this way and that, then picks a path (the wrong one). Robert Cecil looks at him sharply. How did he know. Robert Cecil looks surprised for an instant that he knows about that as well. Robert looks surprised at his father who has stopped suddenly. And he starts back up the stairs. And with that he slams the door shut. Robert Cecil walks over to a nearby window. Visibly upset he starts to stare out of the window and remembers... BOY ROBERT CECIL (now 9) is staring out of the window. His back must have been deformed either in utero or at birth, because even now he is hunchbacked. Finally Boy Robert Cecil turns and sees Young Oxford (now 17) entering the hallway with William Cecil and his wife and daughter, Young ANNE (15). In front of them, lined up, are several men whom we will learn are <b>TUTORS. </b> Boy Robert Cecil doesn't move. Boy Robert Cecil watches as his father turns to his mother and sister. Young Anne curtsies. Everybody turns and sees the odd hunchback child has finally come over. Master Crane bows his head. Boy Robert frowns at the correction. Mister Golding bows his head in appreciation. William Cecil seems to have finished. Boy Robert Cecil casually watches as he plays chess against himself. Young | Who is the Earl of Salisbury? | Robert Cecil |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William looks down at the manuscript, reads a few lines. He looks up, but Oxford is gone, having left the maze without so much as a good-bye. But before he can follow, Francesco tosses a leather pouch of coins at his feet. And Francesco follows after his master as Jonson picks up the pouch, examining its contents. And then Jonson realizes he doesn't know how to get out of the maze. He chases after them. And he's lost. He looks this way and that, then picks a path (the wrong one). Robert Cecil looks at him sharply. How did he know. Robert Cecil looks surprised for an instant that he knows about that as well. Robert looks surprised at his father who has stopped suddenly. And he starts back up the stairs. And with that he slams the door shut. Robert Cecil walks over to a nearby window. Visibly upset he starts to stare out of the window and remembers... BOY ROBERT CECIL (now 9) is staring out of the window. His back must have been deformed either in utero or at birth, because even now he is hunchbacked. Finally Boy Robert Cecil turns and sees Young Oxford (now 17) entering the hallway with William Cecil and his wife and daughter, Young ANNE (15). In front of them, lined up, are several men whom we will learn are <b>TUTORS. </b> Boy Robert Cecil doesn't move. Boy Robert Cecil watches as his father turns to his mother and sister. Young Anne curtsies. Everybody turns and sees the odd hunchback child has finally come over. Master Crane bows his head. Boy Robert frowns at the correction. Mister Golding bows his head in appreciation. William Cecil seems to have finished. Boy Robert Cecil casually watches as he plays chess against himself. Young | What is the name of the theater Ben Johnson flees to with the manuscripts? | The Rose |
at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds looks down at the manuscript, reads a few lines. He looks up, but Oxford is gone, having left the maze without so much as a good-bye. But before he can follow, Francesco tosses a leather pouch of coins at his feet. And Francesco follows after his master as Jonson picks up the pouch, examining its contents. And then Jonson realizes he doesn't know how to get out of the maze. He chases after them. And he's lost. He looks this way and that, then picks a path (the wrong one). Robert Cecil looks at him sharply. How did he know. Robert Cecil looks surprised for an instant that he knows about that as well. Robert looks surprised at his father who has stopped suddenly. And he starts back up the stairs. And with that he slams the door shut. Robert Cecil walks over to a nearby window. Visibly upset he starts to stare out of the window and remembers... BOY ROBERT CECIL (now 9) is staring out of the window. His back must have been deformed either in utero or at birth, because even now he is hunchbacked. Finally Boy Robert Cecil turns and sees Young Oxford (now 17) entering the hallway with William Cecil and his wife and daughter, Young ANNE (15). In front of them, lined up, are several men whom we will learn are <b>TUTORS. </b> Boy Robert Cecil doesn't move. Boy Robert Cecil watches as his father turns to his mother and sister. Young Anne curtsies. Everybody turns and sees the odd hunchback child has finally come over. Master Crane bows his head. Boy Robert frowns at the correction. Mister Golding bows his head in appreciation. William Cecil seems to have finished. Boy Robert Cecil casually watches as he plays chess against himself. Young Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William follows, holding a manuscript. Shakespeare looks shocked. She starts to SCREAM and yell as she pulls a sheet to cover herself. She does so as Oxford walks over to Shakespeare. He tosses the manuscript to him. Shakespeare starts to look at it. The whore is partially dressed, so-- Shakespeare gives a look to Oxford-- he certainly isn't going to pay for it. Oxford nods to Francesco, who gives the whore a few coins. She smiles, and leaves. Shakespeare looks confused. Oxford tosses a very large pouch of coins at him, and then begins to leave. Renaissance MUSIC BEGINS as we-- The printer nods his approval... The poem continues with: We are: They look up and see-- Elizabeth silently walks over to them, and picks up the book. She opens it as we-- Robert Cecil enters. Robert Cecil shuts his mouth. She doesn't have to say which one. Robert Cecil sees a copy of "Venus and Adonis" on a table. He NODS. Robert Cecil knows to be silent. She looks out the window. She smiles seductively, transported in time. Elizabeth's eyes flare in anger for an instant, then she regains composure. Robert Cecil nods. Robert Cecil hesitates. She seems surprised. Perhaps she was expecting Essex. But then she smiles, and NODS in approval. Elizabeth goes into a rage. Robert Cecil is surprised by her fury. He bows his head as Elizabeth tries to collect herself. She says no more, the audience over. Robert Cecil hesitates, and then she glares at him... He bows and exits, the fury on his face plain. Elizabeth looks at her own reflection in the window... He pauses when he sees a poster in front advertising a performance of "Richard III" on Monday next. The actor Condell is on stage, rehearsing the character | Who sets the theater on fire? | The solders |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and In the background we see that the title of the play, "Anonymous", is written on the theatre's marquee... Stagehands are moving stage lights as-- He looks on both wings of the stage-- and then relief floods his face as he sees The Man in the Grey Suit hurrying over to him. The Stage Manager wordlessly hands him the umbrella and signals to a stagehand in the background. The curtains start to OPEN and the MURMUR of the audience dies down. "Prologue" regards his audience for a beat before: Another stagehand starts to lift shutters in front of a stage light back and forth to create LIGHTNING STRIKES. The actor who will play "Ben JONSON" (mid 30's) appears in the wings, bearded, ready to go on stage, holding a prop leather manuscript. Behind him a group of Elizabethan "soldiers" strap on their swords. The rain has intensified. "Prologue" turns and the camera starts to leave him and the TITLES END.... A FLASH OF LIGHTNING, and for a moment only sheets of RAIN are visible. No stage, no "Prologue". Then, trough the rain, we see a form of a man... Ben Jonson... running. Then we make out the shapes of houses... a street. We're not on a stage anymore. We are: He frantically opens the wooden door to the theater-- And several of the guards charge the door with their pikes, HITTING it hard. The soldiers immediately spread out into different parts of the theater. Jonson's gone. Because-- Nothing. A beat, then-- The soldier hesitates. The soldiers obey, lighting fire to the walls, the galleries, the columns as-- He tosses the fireworks out of the box-- and then places the bound manuscripts in their place, then closes the box. Then-- he grabs a nearby rapier as-- Jonson-- looks down at the manuscript, reads a few lines. He looks up, but Oxford is gone, having left the maze without so much as a good-bye. But before he can follow, Francesco tosses a leather pouch of coins at his feet. And Francesco follows after his master as Jonson picks up the pouch, examining its contents. And then Jonson realizes he doesn't know how to get out of the maze. He chases after them. And he's lost. He looks this way and that, then picks a path (the wrong one). Robert Cecil looks at him sharply. How did he know. Robert Cecil looks surprised for an instant that he knows about that as well. Robert looks surprised at his father who has stopped suddenly. And he starts back up the stairs. And with that he slams the door shut. Robert Cecil walks over to a nearby window. Visibly upset he starts to stare out of the window and remembers... BOY ROBERT CECIL (now 9) is staring out of the window. His back must have been deformed either in utero or at birth, because even now he is hunchbacked. Finally Boy Robert Cecil turns and sees Young Oxford (now 17) entering the hallway with William Cecil and his wife and daughter, Young ANNE (15). In front of them, lined up, are several men whom we will learn are <b>TUTORS. </b> Boy Robert Cecil doesn't move. Boy Robert Cecil watches as his father turns to his mother and sister. Young Anne curtsies. Everybody turns and sees the odd hunchback child has finally come over. Master Crane bows his head. Boy Robert frowns at the correction. Mister Golding bows his head in appreciation. William Cecil seems to have finished. Boy Robert Cecil casually watches as he plays chess against himself. Young more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side | Who is the Queen? | Elizabeth I |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested follows, holding a manuscript. Shakespeare looks shocked. She starts to SCREAM and yell as she pulls a sheet to cover herself. She does so as Oxford walks over to Shakespeare. He tosses the manuscript to him. Shakespeare starts to look at it. The whore is partially dressed, so-- Shakespeare gives a look to Oxford-- he certainly isn't going to pay for it. Oxford nods to Francesco, who gives the whore a few coins. She smiles, and leaves. Shakespeare looks confused. Oxford tosses a very large pouch of coins at him, and then begins to leave. Renaissance MUSIC BEGINS as we-- The printer nods his approval... The poem continues with: We are: They look up and see-- Elizabeth silently walks over to them, and picks up the book. She opens it as we-- Robert Cecil enters. Robert Cecil shuts his mouth. She doesn't have to say which one. Robert Cecil sees a copy of "Venus and Adonis" on a table. He NODS. Robert Cecil knows to be silent. She looks out the window. She smiles seductively, transported in time. Elizabeth's eyes flare in anger for an instant, then she regains composure. Robert Cecil nods. Robert Cecil hesitates. She seems surprised. Perhaps she was expecting Essex. But then she smiles, and NODS in approval. Elizabeth goes into a rage. Robert Cecil is surprised by her fury. He bows his head as Elizabeth tries to collect herself. She says no more, the audience over. Robert Cecil hesitates, and then she glares at him... He bows and exits, the fury on his face plain. Elizabeth looks at her own reflection in the window... He pauses when he sees a poster in front advertising a performance of "Richard III" on Monday next. The actor Condell is on stage, rehearsing the character | Edward De Vere is what age when he writes Midsummer Nights Dream? | 8 or 9 |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William looks down at the manuscript, reads a few lines. He looks up, but Oxford is gone, having left the maze without so much as a good-bye. But before he can follow, Francesco tosses a leather pouch of coins at his feet. And Francesco follows after his master as Jonson picks up the pouch, examining its contents. And then Jonson realizes he doesn't know how to get out of the maze. He chases after them. And he's lost. He looks this way and that, then picks a path (the wrong one). Robert Cecil looks at him sharply. How did he know. Robert Cecil looks surprised for an instant that he knows about that as well. Robert looks surprised at his father who has stopped suddenly. And he starts back up the stairs. And with that he slams the door shut. Robert Cecil walks over to a nearby window. Visibly upset he starts to stare out of the window and remembers... BOY ROBERT CECIL (now 9) is staring out of the window. His back must have been deformed either in utero or at birth, because even now he is hunchbacked. Finally Boy Robert Cecil turns and sees Young Oxford (now 17) entering the hallway with William Cecil and his wife and daughter, Young ANNE (15). In front of them, lined up, are several men whom we will learn are <b>TUTORS. </b> Boy Robert Cecil doesn't move. Boy Robert Cecil watches as his father turns to his mother and sister. Young Anne curtsies. Everybody turns and sees the odd hunchback child has finally come over. Master Crane bows his head. Boy Robert frowns at the correction. Mister Golding bows his head in appreciation. William Cecil seems to have finished. Boy Robert Cecil casually watches as he plays chess against himself. Young another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested | Whom does William Cecil blackmail Edward De Vere into marrying? | Anne Cecil |
more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested him go by and immediately realizes that she has seen him before. But she stays silent. Oxford holds up a finger to prevent her from speaking while he finishes writing a thought. It's a long thought. Anne is obviously annoyed, and interrupts him. He remembers when he spies his daughter. The matter over, Oxford goes back to his writing. And then he goes back to writing. She stares at him. Oxford turns to her, full of emotion Anne storms over and grabs the parchment from under him, and begins RIPPING it up. He stares at her, almost uncomprehendingly. Then-- Anne steps back, frightened of him. She stares at him, horrified. He stares back at her. A long beat Shakespeare caries and reads from a manuscript of "Romeo and Juliet" Jonson gives him a sharp look, and pauses to pick some onions from a stand. Shakespeare notices a BUXOM BLONDE women selling apples at the next stand. The Buxom Blonde smiles at Shakespeare seductively. Jonson leaves the stall, and continues down the street. Shakespeare hesitates, then gives the girl a dazzling smile. She smiles back, then Shakespeare runs after Jonson. The actor playing Romeo plays to the women in the audience. And YOUNG OXFORD-- now 20 is dancing with Young Anne. But his eyes are on: Young Elizabeth, who is dancing with the Spanish <b>AMBASSADOR. </b> <b>YOUNG ELIZABETH </b> seems less than interested in her dancing partner. She STARES intently back at Young Oxford. All the dancers change partners, including Elizabeth and Oxford. A few dance moves, and Oxford once again finds himself with Elizabeth. Young Oxford dips his head slightly in acknowledgment. Was that a come-on? Young Elizabeth decides to find out. Young Oxford glances over looks down at the manuscript, reads a few lines. He looks up, but Oxford is gone, having left the maze without so much as a good-bye. But before he can follow, Francesco tosses a leather pouch of coins at his feet. And Francesco follows after his master as Jonson picks up the pouch, examining its contents. And then Jonson realizes he doesn't know how to get out of the maze. He chases after them. And he's lost. He looks this way and that, then picks a path (the wrong one). Robert Cecil looks at him sharply. How did he know. Robert Cecil looks surprised for an instant that he knows about that as well. Robert looks surprised at his father who has stopped suddenly. And he starts back up the stairs. And with that he slams the door shut. Robert Cecil walks over to a nearby window. Visibly upset he starts to stare out of the window and remembers... BOY ROBERT CECIL (now 9) is staring out of the window. His back must have been deformed either in utero or at birth, because even now he is hunchbacked. Finally Boy Robert Cecil turns and sees Young Oxford (now 17) entering the hallway with William Cecil and his wife and daughter, Young ANNE (15). In front of them, lined up, are several men whom we will learn are <b>TUTORS. </b> Boy Robert Cecil doesn't move. Boy Robert Cecil watches as his father turns to his mother and sister. Young Anne curtsies. Everybody turns and sees the odd hunchback child has finally come over. Master Crane bows his head. Boy Robert frowns at the correction. Mister Golding bows his head in appreciation. William Cecil seems to have finished. Boy Robert Cecil casually watches as he plays chess against himself. Young | What is the name of Edward De Vere's unknown illegtimate son? | Henry Wriothesly |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William | Whom is the mother of James VI of Scotland? | Mary, Queen of Scots |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William un-certain; like she's not sure she recognizes all the faces around her (Alzheimer's?). And she compensates for it by being all the more regal, all the more un-human. Essex is on her arm, dressed in a splendid jewel- encrusted doublet. Robert Cecil FROWNS at the sight of Essex on her arm. Essex ignores Cecil's glare, notices Southampton-- Southampton CLAPS his hands and a door across the room <b>OPENS. </b> A DWARF enters, followed by dancing faires, actors swirling sparklers, and musicians playing music. Elizabeth's rheumy eyes widen in complete delight, a smile of total jubilation crosses her face. Robert Cecil, on the other hand, looks horrified. The dwarf bows his assent. Robert Cecil turns to Essex, shocked. Robert frowns as Elizabeth looks around, unsure of the political tides around her. Then-- Elizabeth lets go of Essex, and offers her hand to the Dwarf, who smiles brightly. And the Dwarf leads Elizabeth towards the door. Essex follows, and Southampton locks into step next to him. They exchange a knowing look as-- Robert Cecil steps in line far after the Queen, not happy with this turn of events as we hear-- Chairs have been brought out and put in rows in the grass. Elizabeth is watching center front row (of course). She loves it, SQUEALING in delight like a young woman. Essex is next to her. Titania awakens in her nest-like bed of fur. All the actors are children from 7-12 years old or so. And the characters of "Oberon" and "Titania" exit. Boy Oxford hurries-- Next to Young Elizabeth, JOHN DE VERE, Oxford's father, also watches, his face beaming with pride. The play now over, Young Elizabeth applauds with delight, as do the small group of courtiers all around her. Much excited talking and commotion, until Boy | William Shakespeare is accused of murder by whom? | Ben Johnson |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William In the background we see that the title of the play, "Anonymous", is written on the theatre's marquee... Stagehands are moving stage lights as-- He looks on both wings of the stage-- and then relief floods his face as he sees The Man in the Grey Suit hurrying over to him. The Stage Manager wordlessly hands him the umbrella and signals to a stagehand in the background. The curtains start to OPEN and the MURMUR of the audience dies down. "Prologue" regards his audience for a beat before: Another stagehand starts to lift shutters in front of a stage light back and forth to create LIGHTNING STRIKES. The actor who will play "Ben JONSON" (mid 30's) appears in the wings, bearded, ready to go on stage, holding a prop leather manuscript. Behind him a group of Elizabethan "soldiers" strap on their swords. The rain has intensified. "Prologue" turns and the camera starts to leave him and the TITLES END.... A FLASH OF LIGHTNING, and for a moment only sheets of RAIN are visible. No stage, no "Prologue". Then, trough the rain, we see a form of a man... Ben Jonson... running. Then we make out the shapes of houses... a street. We're not on a stage anymore. We are: He frantically opens the wooden door to the theater-- And several of the guards charge the door with their pikes, HITTING it hard. The soldiers immediately spread out into different parts of the theater. Jonson's gone. Because-- Nothing. A beat, then-- The soldier hesitates. The soldiers obey, lighting fire to the walls, the galleries, the columns as-- He tosses the fireworks out of the box-- and then places the bound manuscripts in their place, then closes the box. Then-- he grabs a nearby rapier as-- Jonson-- | In what year did Edward De Vere die? | 1604 |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested | What is the name of the theater Ben runs to in London? | The Rose |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side follows, holding a manuscript. Shakespeare looks shocked. She starts to SCREAM and yell as she pulls a sheet to cover herself. She does so as Oxford walks over to Shakespeare. He tosses the manuscript to him. Shakespeare starts to look at it. The whore is partially dressed, so-- Shakespeare gives a look to Oxford-- he certainly isn't going to pay for it. Oxford nods to Francesco, who gives the whore a few coins. She smiles, and leaves. Shakespeare looks confused. Oxford tosses a very large pouch of coins at him, and then begins to leave. Renaissance MUSIC BEGINS as we-- The printer nods his approval... The poem continues with: We are: They look up and see-- Elizabeth silently walks over to them, and picks up the book. She opens it as we-- Robert Cecil enters. Robert Cecil shuts his mouth. She doesn't have to say which one. Robert Cecil sees a copy of "Venus and Adonis" on a table. He NODS. Robert Cecil knows to be silent. She looks out the window. She smiles seductively, transported in time. Elizabeth's eyes flare in anger for an instant, then she regains composure. Robert Cecil nods. Robert Cecil hesitates. She seems surprised. Perhaps she was expecting Essex. But then she smiles, and NODS in approval. Elizabeth goes into a rage. Robert Cecil is surprised by her fury. He bows his head as Elizabeth tries to collect herself. She says no more, the audience over. Robert Cecil hesitates, and then she glares at him... He bows and exits, the fury on his face plain. Elizabeth looks at her own reflection in the window... He pauses when he sees a poster in front advertising a performance of "Richard III" on Monday next. The actor Condell is on stage, rehearsing the character | In what year does the main story take place? | 1598 |
at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side him go by and immediately realizes that she has seen him before. But she stays silent. Oxford holds up a finger to prevent her from speaking while he finishes writing a thought. It's a long thought. Anne is obviously annoyed, and interrupts him. He remembers when he spies his daughter. The matter over, Oxford goes back to his writing. And then he goes back to writing. She stares at him. Oxford turns to her, full of emotion Anne storms over and grabs the parchment from under him, and begins RIPPING it up. He stares at her, almost uncomprehendingly. Then-- Anne steps back, frightened of him. She stares at him, horrified. He stares back at her. A long beat Shakespeare caries and reads from a manuscript of "Romeo and Juliet" Jonson gives him a sharp look, and pauses to pick some onions from a stand. Shakespeare notices a BUXOM BLONDE women selling apples at the next stand. The Buxom Blonde smiles at Shakespeare seductively. Jonson leaves the stall, and continues down the street. Shakespeare hesitates, then gives the girl a dazzling smile. She smiles back, then Shakespeare runs after Jonson. The actor playing Romeo plays to the women in the audience. And YOUNG OXFORD-- now 20 is dancing with Young Anne. But his eyes are on: Young Elizabeth, who is dancing with the Spanish <b>AMBASSADOR. </b> <b>YOUNG ELIZABETH </b> seems less than interested in her dancing partner. She STARES intently back at Young Oxford. All the dancers change partners, including Elizabeth and Oxford. A few dance moves, and Oxford once again finds himself with Elizabeth. Young Oxford dips his head slightly in acknowledgment. Was that a come-on? Young Elizabeth decides to find out. Young Oxford glances over another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested | Who is Edward de Vere's wife? | Anne Cecil |
Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side him go by and immediately realizes that she has seen him before. But she stays silent. Oxford holds up a finger to prevent her from speaking while he finishes writing a thought. It's a long thought. Anne is obviously annoyed, and interrupts him. He remembers when he spies his daughter. The matter over, Oxford goes back to his writing. And then he goes back to writing. She stares at him. Oxford turns to her, full of emotion Anne storms over and grabs the parchment from under him, and begins RIPPING it up. He stares at her, almost uncomprehendingly. Then-- Anne steps back, frightened of him. She stares at him, horrified. He stares back at her. A long beat Shakespeare caries and reads from a manuscript of "Romeo and Juliet" Jonson gives him a sharp look, and pauses to pick some onions from a stand. Shakespeare notices a BUXOM BLONDE women selling apples at the next stand. The Buxom Blonde smiles at Shakespeare seductively. Jonson leaves the stall, and continues down the street. Shakespeare hesitates, then gives the girl a dazzling smile. She smiles back, then Shakespeare runs after Jonson. The actor playing Romeo plays to the women in the audience. And YOUNG OXFORD-- now 20 is dancing with Young Anne. But his eyes are on: Young Elizabeth, who is dancing with the Spanish <b>AMBASSADOR. </b> <b>YOUNG ELIZABETH </b> seems less than interested in her dancing partner. She STARES intently back at Young Oxford. All the dancers change partners, including Elizabeth and Oxford. A few dance moves, and Oxford once again finds himself with Elizabeth. Young Oxford dips his head slightly in acknowledgment. Was that a come-on? Young Elizabeth decides to find out. Young Oxford glances over follows, holding a manuscript. Shakespeare looks shocked. She starts to SCREAM and yell as she pulls a sheet to cover herself. She does so as Oxford walks over to Shakespeare. He tosses the manuscript to him. Shakespeare starts to look at it. The whore is partially dressed, so-- Shakespeare gives a look to Oxford-- he certainly isn't going to pay for it. Oxford nods to Francesco, who gives the whore a few coins. She smiles, and leaves. Shakespeare looks confused. Oxford tosses a very large pouch of coins at him, and then begins to leave. Renaissance MUSIC BEGINS as we-- The printer nods his approval... The poem continues with: We are: They look up and see-- Elizabeth silently walks over to them, and picks up the book. She opens it as we-- Robert Cecil enters. Robert Cecil shuts his mouth. She doesn't have to say which one. Robert Cecil sees a copy of "Venus and Adonis" on a table. He NODS. Robert Cecil knows to be silent. She looks out the window. She smiles seductively, transported in time. Elizabeth's eyes flare in anger for an instant, then she regains composure. Robert Cecil nods. Robert Cecil hesitates. She seems surprised. Perhaps she was expecting Essex. But then she smiles, and NODS in approval. Elizabeth goes into a rage. Robert Cecil is surprised by her fury. He bows his head as Elizabeth tries to collect herself. She says no more, the audience over. Robert Cecil hesitates, and then she glares at him... He bows and exits, the fury on his face plain. Elizabeth looks at her own reflection in the window... He pauses when he sees a poster in front advertising a performance of "Richard III" on Monday next. The actor Condell is on stage, rehearsing the character | What is de Vere forbidden to do? | Write plays. |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and follows, holding a manuscript. Shakespeare looks shocked. She starts to SCREAM and yell as she pulls a sheet to cover herself. She does so as Oxford walks over to Shakespeare. He tosses the manuscript to him. Shakespeare starts to look at it. The whore is partially dressed, so-- Shakespeare gives a look to Oxford-- he certainly isn't going to pay for it. Oxford nods to Francesco, who gives the whore a few coins. She smiles, and leaves. Shakespeare looks confused. Oxford tosses a very large pouch of coins at him, and then begins to leave. Renaissance MUSIC BEGINS as we-- The printer nods his approval... The poem continues with: We are: They look up and see-- Elizabeth silently walks over to them, and picks up the book. She opens it as we-- Robert Cecil enters. Robert Cecil shuts his mouth. She doesn't have to say which one. Robert Cecil sees a copy of "Venus and Adonis" on a table. He NODS. Robert Cecil knows to be silent. She looks out the window. She smiles seductively, transported in time. Elizabeth's eyes flare in anger for an instant, then she regains composure. Robert Cecil nods. Robert Cecil hesitates. She seems surprised. Perhaps she was expecting Essex. But then she smiles, and NODS in approval. Elizabeth goes into a rage. Robert Cecil is surprised by her fury. He bows his head as Elizabeth tries to collect herself. She says no more, the audience over. Robert Cecil hesitates, and then she glares at him... He bows and exits, the fury on his face plain. Elizabeth looks at her own reflection in the window... He pauses when he sees a poster in front advertising a performance of "Richard III" on Monday next. The actor Condell is on stage, rehearsing the character In the background we see that the title of the play, "Anonymous", is written on the theatre's marquee... Stagehands are moving stage lights as-- He looks on both wings of the stage-- and then relief floods his face as he sees The Man in the Grey Suit hurrying over to him. The Stage Manager wordlessly hands him the umbrella and signals to a stagehand in the background. The curtains start to OPEN and the MURMUR of the audience dies down. "Prologue" regards his audience for a beat before: Another stagehand starts to lift shutters in front of a stage light back and forth to create LIGHTNING STRIKES. The actor who will play "Ben JONSON" (mid 30's) appears in the wings, bearded, ready to go on stage, holding a prop leather manuscript. Behind him a group of Elizabethan "soldiers" strap on their swords. The rain has intensified. "Prologue" turns and the camera starts to leave him and the TITLES END.... A FLASH OF LIGHTNING, and for a moment only sheets of RAIN are visible. No stage, no "Prologue". Then, trough the rain, we see a form of a man... Ben Jonson... running. Then we make out the shapes of houses... a street. We're not on a stage anymore. We are: He frantically opens the wooden door to the theater-- And several of the guards charge the door with their pikes, HITTING it hard. The soldiers immediately spread out into different parts of the theater. Jonson's gone. Because-- Nothing. A beat, then-- The soldier hesitates. The soldiers obey, lighting fire to the walls, the galleries, the columns as-- He tosses the fireworks out of the box-- and then places the bound manuscripts in their place, then closes the box. Then-- he grabs a nearby rapier as-- Jonson-- | Who pretends to write de Vere's plays? | William Shakespeare. |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William un-certain; like she's not sure she recognizes all the faces around her (Alzheimer's?). And she compensates for it by being all the more regal, all the more un-human. Essex is on her arm, dressed in a splendid jewel- encrusted doublet. Robert Cecil FROWNS at the sight of Essex on her arm. Essex ignores Cecil's glare, notices Southampton-- Southampton CLAPS his hands and a door across the room <b>OPENS. </b> A DWARF enters, followed by dancing faires, actors swirling sparklers, and musicians playing music. Elizabeth's rheumy eyes widen in complete delight, a smile of total jubilation crosses her face. Robert Cecil, on the other hand, looks horrified. The dwarf bows his assent. Robert Cecil turns to Essex, shocked. Robert frowns as Elizabeth looks around, unsure of the political tides around her. Then-- Elizabeth lets go of Essex, and offers her hand to the Dwarf, who smiles brightly. And the Dwarf leads Elizabeth towards the door. Essex follows, and Southampton locks into step next to him. They exchange a knowing look as-- Robert Cecil steps in line far after the Queen, not happy with this turn of events as we hear-- Chairs have been brought out and put in rows in the grass. Elizabeth is watching center front row (of course). She loves it, SQUEALING in delight like a young woman. Essex is next to her. Titania awakens in her nest-like bed of fur. All the actors are children from 7-12 years old or so. And the characters of "Oberon" and "Titania" exit. Boy Oxford hurries-- Next to Young Elizabeth, JOHN DE VERE, Oxford's father, also watches, his face beaming with pride. The play now over, Young Elizabeth applauds with delight, as do the small group of courtiers all around her. Much excited talking and commotion, until Boy | What play is supposed to start a mob against Robert Cecil? | Richard III. |
another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and In the background we see that the title of the play, "Anonymous", is written on the theatre's marquee... Stagehands are moving stage lights as-- He looks on both wings of the stage-- and then relief floods his face as he sees The Man in the Grey Suit hurrying over to him. The Stage Manager wordlessly hands him the umbrella and signals to a stagehand in the background. The curtains start to OPEN and the MURMUR of the audience dies down. "Prologue" regards his audience for a beat before: Another stagehand starts to lift shutters in front of a stage light back and forth to create LIGHTNING STRIKES. The actor who will play "Ben JONSON" (mid 30's) appears in the wings, bearded, ready to go on stage, holding a prop leather manuscript. Behind him a group of Elizabethan "soldiers" strap on their swords. The rain has intensified. "Prologue" turns and the camera starts to leave him and the TITLES END.... A FLASH OF LIGHTNING, and for a moment only sheets of RAIN are visible. No stage, no "Prologue". Then, trough the rain, we see a form of a man... Ben Jonson... running. Then we make out the shapes of houses... a street. We're not on a stage anymore. We are: He frantically opens the wooden door to the theater-- And several of the guards charge the door with their pikes, HITTING it hard. The soldiers immediately spread out into different parts of the theater. Jonson's gone. Because-- Nothing. A beat, then-- The soldier hesitates. The soldiers obey, lighting fire to the walls, the galleries, the columns as-- He tosses the fireworks out of the box-- and then places the bound manuscripts in their place, then closes the box. Then-- he grabs a nearby rapier as-- Jonson-- more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side | Who betrays the intentions behind preforming "Richard III" to Robert Cecil? | Ben Jonson |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William looks down at the manuscript, reads a few lines. He looks up, but Oxford is gone, having left the maze without so much as a good-bye. But before he can follow, Francesco tosses a leather pouch of coins at his feet. And Francesco follows after his master as Jonson picks up the pouch, examining its contents. And then Jonson realizes he doesn't know how to get out of the maze. He chases after them. And he's lost. He looks this way and that, then picks a path (the wrong one). Robert Cecil looks at him sharply. How did he know. Robert Cecil looks surprised for an instant that he knows about that as well. Robert looks surprised at his father who has stopped suddenly. And he starts back up the stairs. And with that he slams the door shut. Robert Cecil walks over to a nearby window. Visibly upset he starts to stare out of the window and remembers... BOY ROBERT CECIL (now 9) is staring out of the window. His back must have been deformed either in utero or at birth, because even now he is hunchbacked. Finally Boy Robert Cecil turns and sees Young Oxford (now 17) entering the hallway with William Cecil and his wife and daughter, Young ANNE (15). In front of them, lined up, are several men whom we will learn are <b>TUTORS. </b> Boy Robert Cecil doesn't move. Boy Robert Cecil watches as his father turns to his mother and sister. Young Anne curtsies. Everybody turns and sees the odd hunchback child has finally come over. Master Crane bows his head. Boy Robert frowns at the correction. Mister Golding bows his head in appreciation. William Cecil seems to have finished. Boy Robert Cecil casually watches as he plays chess against himself. Young another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested | Where does Shakespeare retire to? | Stratford |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and looks down at the manuscript, reads a few lines. He looks up, but Oxford is gone, having left the maze without so much as a good-bye. But before he can follow, Francesco tosses a leather pouch of coins at his feet. And Francesco follows after his master as Jonson picks up the pouch, examining its contents. And then Jonson realizes he doesn't know how to get out of the maze. He chases after them. And he's lost. He looks this way and that, then picks a path (the wrong one). Robert Cecil looks at him sharply. How did he know. Robert Cecil looks surprised for an instant that he knows about that as well. Robert looks surprised at his father who has stopped suddenly. And he starts back up the stairs. And with that he slams the door shut. Robert Cecil walks over to a nearby window. Visibly upset he starts to stare out of the window and remembers... BOY ROBERT CECIL (now 9) is staring out of the window. His back must have been deformed either in utero or at birth, because even now he is hunchbacked. Finally Boy Robert Cecil turns and sees Young Oxford (now 17) entering the hallway with William Cecil and his wife and daughter, Young ANNE (15). In front of them, lined up, are several men whom we will learn are <b>TUTORS. </b> Boy Robert Cecil doesn't move. Boy Robert Cecil watches as his father turns to his mother and sister. Young Anne curtsies. Everybody turns and sees the odd hunchback child has finally come over. Master Crane bows his head. Boy Robert frowns at the correction. Mister Golding bows his head in appreciation. William Cecil seems to have finished. Boy Robert Cecil casually watches as he plays chess against himself. Young another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested | Where was Johnson confined to? | The Tower of London. |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds In the background we see that the title of the play, "Anonymous", is written on the theatre's marquee... Stagehands are moving stage lights as-- He looks on both wings of the stage-- and then relief floods his face as he sees The Man in the Grey Suit hurrying over to him. The Stage Manager wordlessly hands him the umbrella and signals to a stagehand in the background. The curtains start to OPEN and the MURMUR of the audience dies down. "Prologue" regards his audience for a beat before: Another stagehand starts to lift shutters in front of a stage light back and forth to create LIGHTNING STRIKES. The actor who will play "Ben JONSON" (mid 30's) appears in the wings, bearded, ready to go on stage, holding a prop leather manuscript. Behind him a group of Elizabethan "soldiers" strap on their swords. The rain has intensified. "Prologue" turns and the camera starts to leave him and the TITLES END.... A FLASH OF LIGHTNING, and for a moment only sheets of RAIN are visible. No stage, no "Prologue". Then, trough the rain, we see a form of a man... Ben Jonson... running. Then we make out the shapes of houses... a street. We're not on a stage anymore. We are: He frantically opens the wooden door to the theater-- And several of the guards charge the door with their pikes, HITTING it hard. The soldiers immediately spread out into different parts of the theater. Jonson's gone. Because-- Nothing. A beat, then-- The soldier hesitates. The soldiers obey, lighting fire to the walls, the galleries, the columns as-- He tosses the fireworks out of the box-- and then places the bound manuscripts in their place, then closes the box. Then-- he grabs a nearby rapier as-- Jonson-- another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side looks down at the manuscript, reads a few lines. He looks up, but Oxford is gone, having left the maze without so much as a good-bye. But before he can follow, Francesco tosses a leather pouch of coins at his feet. And Francesco follows after his master as Jonson picks up the pouch, examining its contents. And then Jonson realizes he doesn't know how to get out of the maze. He chases after them. And he's lost. He looks this way and that, then picks a path (the wrong one). Robert Cecil looks at him sharply. How did he know. Robert Cecil looks surprised for an instant that he knows about that as well. Robert looks surprised at his father who has stopped suddenly. And he starts back up the stairs. And with that he slams the door shut. Robert Cecil walks over to a nearby window. Visibly upset he starts to stare out of the window and remembers... BOY ROBERT CECIL (now 9) is staring out of the window. His back must have been deformed either in utero or at birth, because even now he is hunchbacked. Finally Boy Robert Cecil turns and sees Young Oxford (now 17) entering the hallway with William Cecil and his wife and daughter, Young ANNE (15). In front of them, lined up, are several men whom we will learn are <b>TUTORS. </b> Boy Robert Cecil doesn't move. Boy Robert Cecil watches as his father turns to his mother and sister. Young Anne curtsies. Everybody turns and sees the odd hunchback child has finally come over. Master Crane bows his head. Boy Robert frowns at the correction. Mister Golding bows his head in appreciation. William Cecil seems to have finished. Boy Robert Cecil casually watches as he plays chess against himself. Young | Where are Essex and his men ambushed? | the Palace courtyard |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and follows, holding a manuscript. Shakespeare looks shocked. She starts to SCREAM and yell as she pulls a sheet to cover herself. She does so as Oxford walks over to Shakespeare. He tosses the manuscript to him. Shakespeare starts to look at it. The whore is partially dressed, so-- Shakespeare gives a look to Oxford-- he certainly isn't going to pay for it. Oxford nods to Francesco, who gives the whore a few coins. She smiles, and leaves. Shakespeare looks confused. Oxford tosses a very large pouch of coins at him, and then begins to leave. Renaissance MUSIC BEGINS as we-- The printer nods his approval... The poem continues with: We are: They look up and see-- Elizabeth silently walks over to them, and picks up the book. She opens it as we-- Robert Cecil enters. Robert Cecil shuts his mouth. She doesn't have to say which one. Robert Cecil sees a copy of "Venus and Adonis" on a table. He NODS. Robert Cecil knows to be silent. She looks out the window. She smiles seductively, transported in time. Elizabeth's eyes flare in anger for an instant, then she regains composure. Robert Cecil nods. Robert Cecil hesitates. She seems surprised. Perhaps she was expecting Essex. But then she smiles, and NODS in approval. Elizabeth goes into a rage. Robert Cecil is surprised by her fury. He bows his head as Elizabeth tries to collect herself. She says no more, the audience over. Robert Cecil hesitates, and then she glares at him... He bows and exits, the fury on his face plain. Elizabeth looks at her own reflection in the window... He pauses when he sees a poster in front advertising a performance of "Richard III" on Monday next. The actor Condell is on stage, rehearsing the character | What does the Earl of Salisburg initiate a search to find? | Manuscripts |
more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William surprised. William Cecil has a coughing fit-- reaches for a glass vial of medicine at his bedside-- takes it. William Cecil is slowly falling asleep... Off Robert Cecil's surprised face we hear: Young Elizabeth turns to Bessie. William Cecil thinks. William Cecil looks startled. She gives him a sharp look. Young Elizabeth hears him, thinks on it, then begins pacing again. He knows the answer to that. Young Elizabeth is uncertain. William Cecil regards Young Oxford for a beat, then stands. With this he leaves the chapel. William Cecil is silent. He has a point. Young Oxford looks up at him like a bucket of cold water has hit him. William Cecil stops. He looks at Oxford with a stern face. Off Young Oxford's pained expression. Jonson looks up. Marlowe sits, uninvited. Jonson looks annoyed at the interruption. Jonson stares at him, his answer obvious. Jonson gets up and walks towards the door. Jonson turns around. Jonson is stunned. Jonson is getting nervous. Jonson looks up. Marlowe smiles, knowing he is closer to the truth. Jonson stands and hurries out of the Tavern. Jonson studies Marlowe for a beat and then walks away. But Jonson is gone. The SERVANT stays in the background as he pours wine into various goblets. Southampton notices him-- the servant's hand shakes as he pours the wine. Southampton notices the Servant's shaking hand slipping into a pocket as-- In an instant Southampton draws a silver engraved pistol and SHOOTS the servant! Everyone is shocked-- but then we see: They duel for a few moments, and then Oxford TOUCHES Beaulieu's shoulder. The speak entirely in French. Oxford backs off, as does the fencing master. And they once again begin to duel. But we quickly surmise something is amiss. Beaulieu is much | What is the name of de Vere's son with the Queen? | Henry Wriosthesley |
more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested looks down at the manuscript, reads a few lines. He looks up, but Oxford is gone, having left the maze without so much as a good-bye. But before he can follow, Francesco tosses a leather pouch of coins at his feet. And Francesco follows after his master as Jonson picks up the pouch, examining its contents. And then Jonson realizes he doesn't know how to get out of the maze. He chases after them. And he's lost. He looks this way and that, then picks a path (the wrong one). Robert Cecil looks at him sharply. How did he know. Robert Cecil looks surprised for an instant that he knows about that as well. Robert looks surprised at his father who has stopped suddenly. And he starts back up the stairs. And with that he slams the door shut. Robert Cecil walks over to a nearby window. Visibly upset he starts to stare out of the window and remembers... BOY ROBERT CECIL (now 9) is staring out of the window. His back must have been deformed either in utero or at birth, because even now he is hunchbacked. Finally Boy Robert Cecil turns and sees Young Oxford (now 17) entering the hallway with William Cecil and his wife and daughter, Young ANNE (15). In front of them, lined up, are several men whom we will learn are <b>TUTORS. </b> Boy Robert Cecil doesn't move. Boy Robert Cecil watches as his father turns to his mother and sister. Young Anne curtsies. Everybody turns and sees the odd hunchback child has finally come over. Master Crane bows his head. Boy Robert frowns at the correction. Mister Golding bows his head in appreciation. William Cecil seems to have finished. Boy Robert Cecil casually watches as he plays chess against himself. Young the table with a flourish. It shows a coat-of-arms containing a spear and a falcon. The colors are numerous, and garish. Everyone is confused by it. Jonson looks over at Shakespeare. Shakespeare locks eyes with him, but looks away, ashamed of something. Shakespeare doesn't want to discuss this with the others present. He grabs Jonson's shoulder, but Jonson pushes him away. Shakespeare looks at the confused Nashe and Dekker nervously. Shakespeare grabs Jonson. Shakespeare backs off. Jonson pulls out a piece of parchment from his shirt. Nashe and Dekker look at each other, slightly embarrassed. Jonson finds a quill deep in his pants. He thrusts it at Will, who ignores it. Shakespeare stares at him. And he exits. Essex and Southampton jump off their horses. And he continues on into-- She turns to see Essex, shocked at his intrusion. Essex FREEZES. He knows he has just made an enormous faux-pas. She stares at him, horrified to be seen in such a manner. The she regains her composure and-- He steps back in horror-- not at her appearance, but what he has just done. The doors SLAM in front of him as we-- She begins to absent-mindedly unbutton the top of her bodice. She turns to him sharply, furious at the thought. Oxford, followed only by Francesco, rides into the courtyard. He is immediately surrounded by armed men, their muskets pointed at him. Oxford raises his hands. Southampton comes towards him. Oxford continues towards the door. Southampton follows, his concern for Oxford's wound noticeable. Essex looks confused, but Oxford ignores it. Essex looks unsure. He completes a thought... closes the manuscript... writes down the title with a flourish: The Tragedie of Richard III Shakespeare is bedding a buxom young lady. And then the door OPENS. Francesco enters, and Oxford | Why does Henry Wriosthesley threaten Cecil's plans for crowning James VI as king? | He is of pure Tudor lineage and an alternative to the contender for the throne. |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and In the background we see that the title of the play, "Anonymous", is written on the theatre's marquee... Stagehands are moving stage lights as-- He looks on both wings of the stage-- and then relief floods his face as he sees The Man in the Grey Suit hurrying over to him. The Stage Manager wordlessly hands him the umbrella and signals to a stagehand in the background. The curtains start to OPEN and the MURMUR of the audience dies down. "Prologue" regards his audience for a beat before: Another stagehand starts to lift shutters in front of a stage light back and forth to create LIGHTNING STRIKES. The actor who will play "Ben JONSON" (mid 30's) appears in the wings, bearded, ready to go on stage, holding a prop leather manuscript. Behind him a group of Elizabethan "soldiers" strap on their swords. The rain has intensified. "Prologue" turns and the camera starts to leave him and the TITLES END.... A FLASH OF LIGHTNING, and for a moment only sheets of RAIN are visible. No stage, no "Prologue". Then, trough the rain, we see a form of a man... Ben Jonson... running. Then we make out the shapes of houses... a street. We're not on a stage anymore. We are: He frantically opens the wooden door to the theater-- And several of the guards charge the door with their pikes, HITTING it hard. The soldiers immediately spread out into different parts of the theater. Jonson's gone. Because-- Nothing. A beat, then-- The soldier hesitates. The soldiers obey, lighting fire to the walls, the galleries, the columns as-- He tosses the fireworks out of the box-- and then places the bound manuscripts in their place, then closes the box. Then-- he grabs a nearby rapier as-- Jonson-- more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side | Why does the royal militia stop the play? | Its seditious content. |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William looks down at the manuscript, reads a few lines. He looks up, but Oxford is gone, having left the maze without so much as a good-bye. But before he can follow, Francesco tosses a leather pouch of coins at his feet. And Francesco follows after his master as Jonson picks up the pouch, examining its contents. And then Jonson realizes he doesn't know how to get out of the maze. He chases after them. And he's lost. He looks this way and that, then picks a path (the wrong one). Robert Cecil looks at him sharply. How did he know. Robert Cecil looks surprised for an instant that he knows about that as well. Robert looks surprised at his father who has stopped suddenly. And he starts back up the stairs. And with that he slams the door shut. Robert Cecil walks over to a nearby window. Visibly upset he starts to stare out of the window and remembers... BOY ROBERT CECIL (now 9) is staring out of the window. His back must have been deformed either in utero or at birth, because even now he is hunchbacked. Finally Boy Robert Cecil turns and sees Young Oxford (now 17) entering the hallway with William Cecil and his wife and daughter, Young ANNE (15). In front of them, lined up, are several men whom we will learn are <b>TUTORS. </b> Boy Robert Cecil doesn't move. Boy Robert Cecil watches as his father turns to his mother and sister. Young Anne curtsies. Everybody turns and sees the odd hunchback child has finally come over. Master Crane bows his head. Boy Robert frowns at the correction. Mister Golding bows his head in appreciation. William Cecil seems to have finished. Boy Robert Cecil casually watches as he plays chess against himself. Young another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested | Where was Jonson confined? | The Tower of London |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested follows, holding a manuscript. Shakespeare looks shocked. She starts to SCREAM and yell as she pulls a sheet to cover herself. She does so as Oxford walks over to Shakespeare. He tosses the manuscript to him. Shakespeare starts to look at it. The whore is partially dressed, so-- Shakespeare gives a look to Oxford-- he certainly isn't going to pay for it. Oxford nods to Francesco, who gives the whore a few coins. She smiles, and leaves. Shakespeare looks confused. Oxford tosses a very large pouch of coins at him, and then begins to leave. Renaissance MUSIC BEGINS as we-- The printer nods his approval... The poem continues with: We are: They look up and see-- Elizabeth silently walks over to them, and picks up the book. She opens it as we-- Robert Cecil enters. Robert Cecil shuts his mouth. She doesn't have to say which one. Robert Cecil sees a copy of "Venus and Adonis" on a table. He NODS. Robert Cecil knows to be silent. She looks out the window. She smiles seductively, transported in time. Elizabeth's eyes flare in anger for an instant, then she regains composure. Robert Cecil nods. Robert Cecil hesitates. She seems surprised. Perhaps she was expecting Essex. But then she smiles, and NODS in approval. Elizabeth goes into a rage. Robert Cecil is surprised by her fury. He bows his head as Elizabeth tries to collect herself. She says no more, the audience over. Robert Cecil hesitates, and then she glares at him... He bows and exits, the fury on his face plain. Elizabeth looks at her own reflection in the window... He pauses when he sees a poster in front advertising a performance of "Richard III" on Monday next. The actor Condell is on stage, rehearsing the character more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side | Who does Jonson allow to take credit for writing Henry V? | William Shakespeare |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and In the background we see that the title of the play, "Anonymous", is written on the theatre's marquee... Stagehands are moving stage lights as-- He looks on both wings of the stage-- and then relief floods his face as he sees The Man in the Grey Suit hurrying over to him. The Stage Manager wordlessly hands him the umbrella and signals to a stagehand in the background. The curtains start to OPEN and the MURMUR of the audience dies down. "Prologue" regards his audience for a beat before: Another stagehand starts to lift shutters in front of a stage light back and forth to create LIGHTNING STRIKES. The actor who will play "Ben JONSON" (mid 30's) appears in the wings, bearded, ready to go on stage, holding a prop leather manuscript. Behind him a group of Elizabethan "soldiers" strap on their swords. The rain has intensified. "Prologue" turns and the camera starts to leave him and the TITLES END.... A FLASH OF LIGHTNING, and for a moment only sheets of RAIN are visible. No stage, no "Prologue". Then, trough the rain, we see a form of a man... Ben Jonson... running. Then we make out the shapes of houses... a street. We're not on a stage anymore. We are: He frantically opens the wooden door to the theater-- And several of the guards charge the door with their pikes, HITTING it hard. The soldiers immediately spread out into different parts of the theater. Jonson's gone. Because-- Nothing. A beat, then-- The soldier hesitates. The soldiers obey, lighting fire to the walls, the galleries, the columns as-- He tosses the fireworks out of the box-- and then places the bound manuscripts in their place, then closes the box. Then-- he grabs a nearby rapier as-- Jonson-- | Who is killed after discovering Shakespeare's plays are written by another person? | Christopher Marlowe |
at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds Oxford, with a fierce, beautifully executed attack, disarms his tutor. The tutor's sword FLIES into the air, and hits-- Young Oxford picks up the sword, throws it to his tutor, who catches it. Young Oxford motions to go, then picks up the black king, and tosses it to Boy Robert Cecil, who can't catch it because of his deformity. It CLANGS on the floor. But then he HEARS footsteps coming. Panicked, he looks for someplace to hide-- a tapestry half covers a door-- he runs to it-- the door is locked! So he hides behind the tapestry just as the door opens, and Young Oxford enters. After a few steps, Young Oxford senses something amiss. Looks at his-- The man screams in agony as he falls. He doesn't just die, but screams and screams and screams. Young Oxford steps back-- half in horror... half in triumph. The SOUND of APPLAUSE takes us to: Shakespeare is on stage, taking a bow. The audience is APPLAUDING and SCREAMING their approval of a performance that has just ended. He steps backwards-- And Shakespeare is drawn back-- Jonson doesn't answer. Jonson still doesn't answer, which is answer enough. And Shakespeare goes back on stage. Shakespeare laughs at him. Jonson takes a swig of ale, then-- Shakespeare smiles enigmatically. Jonson frowns, confused as we-- Elizabeth's wig is being glued into place. William Cecil hesitates slightly, then-- Not what William Cecil wanted to hear. Three ladies-in-waiting approach with three different gown. Elizabeth studies them as: Elizabeth points to one of the dresses, and waves the handmaidens away. But William's flash of victory is dampened by-- William Cecil doesn't answer. Instead he thinks, remembers, as we hear his younger voice... William Cecil is standing in front of an enormous fireplace, pacing in a pique of anger. William | What does William Cecil use to blackmail de Vere into marrying his daughter? | He uses the fact that de Vere murdered a servant. |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested follows, holding a manuscript. Shakespeare looks shocked. She starts to SCREAM and yell as she pulls a sheet to cover herself. She does so as Oxford walks over to Shakespeare. He tosses the manuscript to him. Shakespeare starts to look at it. The whore is partially dressed, so-- Shakespeare gives a look to Oxford-- he certainly isn't going to pay for it. Oxford nods to Francesco, who gives the whore a few coins. She smiles, and leaves. Shakespeare looks confused. Oxford tosses a very large pouch of coins at him, and then begins to leave. Renaissance MUSIC BEGINS as we-- The printer nods his approval... The poem continues with: We are: They look up and see-- Elizabeth silently walks over to them, and picks up the book. She opens it as we-- Robert Cecil enters. Robert Cecil shuts his mouth. She doesn't have to say which one. Robert Cecil sees a copy of "Venus and Adonis" on a table. He NODS. Robert Cecil knows to be silent. She looks out the window. She smiles seductively, transported in time. Elizabeth's eyes flare in anger for an instant, then she regains composure. Robert Cecil nods. Robert Cecil hesitates. She seems surprised. Perhaps she was expecting Essex. But then she smiles, and NODS in approval. Elizabeth goes into a rage. Robert Cecil is surprised by her fury. He bows his head as Elizabeth tries to collect herself. She says no more, the audience over. Robert Cecil hesitates, and then she glares at him... He bows and exits, the fury on his face plain. Elizabeth looks at her own reflection in the window... He pauses when he sees a poster in front advertising a performance of "Richard III" on Monday next. The actor Condell is on stage, rehearsing the character more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and | What threatens Cecil's plans to have James VI crowned king? | The existence of the Queen and de Vere's child. |
of "Gloucester". He walks on stage with a limp, and has a large hump on his back. He is a caricature of Robert Cecil. Richard BURBAGE, the theater's stage manager, is watching his performance with Spencer and a group of actors. Jonson stops and watches the rehearsal for a beat. And "Gloucester" heads backstage. Jonson thinks a beat-- that's odd-- but then holds up his manuscript. Jonson looks confused. Jonson is in shock. Some of the actors from the rehearsal enter, all jolly and excited. They head for the bar. They are: The ACTOR WHO PLAYED "GLOUCESTER", Spencer, Pope, Heminge, etc... Jonson gets up, furious, and exits, quite drunk. The actors don't even notice him. Jonson waves her off. He looks up and sees: Pole looks up from some papers. Pole is confused. So? Pole realizes this is significant. When Pole appears he doesn't stop his prayer. Only after Pole whispers in his ear does he stop and look slowly up to the simple cross and close his eyes in relief. All of London is on its feet. They all are on their way to Bankside. The London Bridge is crammed one way. The River Thames is full of many small boats of theatergoers. Shakespeare adjusts an actor's costume when Burbage walks up besides him. And both men look out the curtains to the crowd outside. The theater is full to the last seat. The people are crammed together like sardines. Francesco assists him. Nashe joins him as-- Dekker also joins them. The actor playing Gloucester nervously looks around... Jonson gives Dekker a sharp look. What's going on here? The hissing and booing has swelled so strong that the actor stops for a moment. But then he finds at-- A beat as this sinks in. He stares intensely into her eyes. And she stares right back. Bessie turns to William Cecil. The Ladies-in-waiting share knowing smiles. Young Elizabeth sits across from Young Oxford. It's just the two of them dining. She raises an eyebrow. Young Elizabeth gently pushes Young Oxford towards her throne... She kisses him. Then begin to make love. On the throne. Young Oxford watches her as she stirs and wakes. She smiles at him. She's only teasing. But then she realizes he's serious, and the smile vanishes. Her eyes narrow as she studies his face. She stands, wrapped in her sheets, furious at the thought of once more being used. And she steps back, waiting for him to exit. Young Oxford stands... and starts to approach her... He's nude, his back to us. She steps back, a bit stunned by his impertinence. He steps towards her as-- A bit stunned by his approach, she stumbles backwards on her sheets. But he's sexy... and naked. And spouting poetry. She stops retreating and allows his approach. A small smile escapes her lips. He starts to kiss her neck. Cautiously at first. But she likes it. The flash of disappointment on Young Oxford's face about that last bit is tempered by Young Elizabeth's sheet falling to the floor. They begin to make love passionately once more. Shakespeare enters and makes a bee line for them. And Shakespeare goes over to the bar. These three performances are INTER-CUT with: And as each play is seen, Jonson and the rest of the Wits seem more and more depressed. And after each performance, Shakespeare seems to be greeted with more and more aggressive than he was before. Oxford realizes it, but is an expert swordsman, and defends himself well. And then Beaulieu aggressively moves forward, and STABS Oxford in the leg. But Oxford has little chance to react, because Beaulieu continues his attack. This has become an assassination attempt, not an exercise. Oxford checks his leg wound, and glances at the dead Beaulieu. He tries to wave off Franceso's aid, but to no avail as-- Jonson peers over and sees: The spectators are unruly, loudly making bets for the mauling to come. Jonson is among them, taking a look at the bear, deciding whether to bet on it or not. Shakespeare suddenly sits next Jonson hardly notices. Jonson suddenly turns to him. Shakespeare gives him a look to kill. Shakespeare shows no reaction. Some of the spectators BOO while others CHEER, and-- And he gets up and leaves as the-- Then Oxford's servant, Francesco, appears. After the two men have exchanged couple of words, Francesco gives Jonson a leather folder containing a manuscript and a purse jingling with coin. Jonson takes them and leaves. Jonson safely gone, Shakespeare starts to follow Francesco who heads back over the bridge. A door opens, and Oxford enters, walking on a stick because of his leg injury. He is followed by his servant, Francesco. Shakespeare is uncomfortable. He wasn't expecting Oxford himself. Then he just goes for it. Oxford is silent. Francesco goes to physically eject Shakespeare from the room. Shakespeare looks at Francesco, then Oxford. Francesco is shocked. Francesco stares at Oxford who is deep in thought. The sound of heated love making takes us to... Young Oxford doesn't answer. He is deep in thought. He looks at her quizzically. She turns and sees Young Oxford's wife with her little daughter at her side another flight of stairs. And as they ascend up more stairs, Oxford catches glimpses of the stage and performance through the rafters and over the heads of the attending audience. Oxford is becoming intrigued by the theater, almost despite himself. Oxford continues up, two steps behind Southampton. They come to the third floor and enter the box seating area reserved for nobles, giving Oxford his first real look at the theater itself. Oxford looks around and sees- It's alive. Magical. Another actor SPENCER (30) plays "FASTIDIOUS"; a pompous, over-dressed, caricature of a nobleman. He wears an enormous feather on his hat. Also on stage is an actor called John HEMINGE (late 40's), who plays "Sogliardo" The audience ROARS in laughter as Shakespeare looks below at a buxom young lady among the "groundlings". He smiles seductively. She smiles back. They are called the "Mermaid's Wits" because they frequent a pub named The Mermaid's Tavern. The others smile as a WOMAN passes. Marlowe gives the woman a few pennies as-- Marlowe glances across the theater and spots Southampton siting next to Oxford. Shakespeare struts around as though he owned the place. The more he talks, the more the audience ROARS in laughter. More groundlings laugh. Interestingly-- As the audience HOWLS in laughter, we see: Shakespeare returns backstage and takes a deep swig from his tankard. He's actually drunk, though his performance didn't show it at all. He spots Jonson, and grabs him. Shakespeare turns to see a furious Philip HENSLOWE (50'S) heading his way. Shakespeare hides the goblet behind his back. He is interrupted by SCREAMS. Not from actors on stage, but by the audience. The audience begins to BOO at the mention of Cecil. He gets up. Oxford does not, seemingly interested follows, holding a manuscript. Shakespeare looks shocked. She starts to SCREAM and yell as she pulls a sheet to cover herself. She does so as Oxford walks over to Shakespeare. He tosses the manuscript to him. Shakespeare starts to look at it. The whore is partially dressed, so-- Shakespeare gives a look to Oxford-- he certainly isn't going to pay for it. Oxford nods to Francesco, who gives the whore a few coins. She smiles, and leaves. Shakespeare looks confused. Oxford tosses a very large pouch of coins at him, and then begins to leave. Renaissance MUSIC BEGINS as we-- The printer nods his approval... The poem continues with: We are: They look up and see-- Elizabeth silently walks over to them, and picks up the book. She opens it as we-- Robert Cecil enters. Robert Cecil shuts his mouth. She doesn't have to say which one. Robert Cecil sees a copy of "Venus and Adonis" on a table. He NODS. Robert Cecil knows to be silent. She looks out the window. She smiles seductively, transported in time. Elizabeth's eyes flare in anger for an instant, then she regains composure. Robert Cecil nods. Robert Cecil hesitates. She seems surprised. Perhaps she was expecting Essex. But then she smiles, and NODS in approval. Elizabeth goes into a rage. Robert Cecil is surprised by her fury. He bows his head as Elizabeth tries to collect herself. She says no more, the audience over. Robert Cecil hesitates, and then she glares at him... He bows and exits, the fury on his face plain. Elizabeth looks at her own reflection in the window... He pauses when he sees a poster in front advertising a performance of "Richard III" on Monday next. The actor Condell is on stage, rehearsing the character | Who wrote a Midsummer Night's Dream? | Edward de Vere |
their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his so that a 7.62 mini-gun that was mounted there sticks up above the sandbags. The emplacement is built on amound so the gun commands a clear field of fire into the jungle beyond. Some Americans, barely recognizible because of their beards and savage manner, sit near the gun. Several Montagnard children giggle at their feet and play with bayonets. Lance just stands there; his eyes vacant.. He sort of nods, sucking a joint. There are other indications of the modern headquarters this had been. Now all those things are no longer impor- tant. Kurtz sits alone, slumped back in a wicker chair. There is a large wooden planning table next to him, with maps, lamps and apile of debris that is practically garbage. There are native decorations to ward off evil spirits; and graffiti on the stone walls, things ranging fromm "Viet Nam, love it or leave it" to quotes of Nietzsche "Nothing is true -- everything is permitted." Moonby, who had been crouching in a corner, moves to Willard. Willard steps in closer. Kurtz looks to Moonby. Moonby hesitates -- not wanting to leave him alone with Willard. He rests back, grinning. Suddenly Kurtz is seized with a terrible pain from his stomach wound. He groans horribly, clutching at it. He literally falls from his chair onto the dirt floor. Willard leans over him; checking the seriousness of the wound. Willard moves to the table, opens the medical packet. He takes out a morphine capsule, leans over the writhing Kurtz and injects him with the drug. Willard quickly prepares another shot. Kurtz, truly frightened, holds up his hand. He rests back. The drug is beginning to take effect. He crawls in pain toward the canteen Willard watches him impassively. He drinks sloppily from the canteen, water spilling all chief, as well as his U.S.A. Colonel's insignia. He is feverish, with long blonde hair and beautiful features. His eyes almost hypnotize. His midsection is bandaged from what seems to be a serious wound. Moonby lights a joint, and passes it respectfully to Kurtz -- throughout the scene, the joint is passed from man to man, ritualistically. There is a clear, incredible intelligence about this man. There is a long pause, as the two men regard each other. Then Willard reaches to his holstered .45 -- withdraws it, and places it on the dirt before Kurtz, as an act assuring Kurtz that he is not an assasin. Kurtz reaches down; takes the .45 -- and without another word or gesture, shoots and kills a man. He throws the .45 back on the dirt. Rises, and walks back into the cavernous headquarters behind the shrunken heads. Moonby scampers off after him, a respectful distance behind. Even Willard is stunned. Lance sleeps by the fire, a little distance away. Chef approaches, crouches down. Lance stirs; starts to wake up. Willard rises. Chef looks at him, confused and frightened. Wild looking savages man these guns, and seem to bow to Willard as he passes. A woman tentatively moves to Willard, bowing, and then runs off to her bunker. WE ARE TRACKING with them as they move past the groups of people, huddled by their fires... men, women and children. Skulls, shrunken and otherwise hang from every hut -- adorn every sandbagged bunker -- dried scalps hang from barbed wire. A child is chewing on a big piece of almost raw meat. They continue past amount where the shattered wreck of half a helicopter is laying. It has been altered and fortified with sandbags and concertina wire. The wreck lays on its side over. Then he throws the canteen to Willard. Lance stands up holding his M-16, looks into the cavern with Chef. Willard shoots himself in the arm with the morphine. Willard drinks more of the LSD water. Chef steps into the Headquarters -- he is terrified. He draws his bayonet. Chef rushes at Kurtz with his bayonet -- instinctively, Willard GUNS him -- then there is additional automatic FIRE. Chef is being riddled by bullets. Then hes tops -- Chef falls to the dirt -- there is an instant of silence, then: Another behind him is chanting the word NAPALM softly t himself. We SEE Lance; waiting, with his weapons -- garlands of teeth around his neck, his face painted. Willard looks through the infra-red sniper scope. Colby pushes a row of plungers: Advancing NVAs il- luminated by napalm drums, phosphorescent napalm EXPLODES beautiful, like a magnificent firework. The SOUND DISTORTED of tremendous HOWLING EXPLOSIONS penetrate the track of LIGHT MY FIRE one after another. Kurtz's face is illuminated by each of these. His face seems to change from one grotesgue primitive face to another, as though the whole history mankind is evolv- ing in front of us. The SCREAMS of maimed and dismembered men almost pene- trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's men LAUGHING and SCREAMING in delight. Kurtz looks out over the field of slaughter. Lance is caught in a CROSSFIRE and hit several times. He pulls himself up -- FIRES a final BURST and then falls under the enemy's feet. He turns and runs back through the compound with the receding Montagnards. SHELLS are EXPLODING everywhere. The light patterns are fantastic. Men fall, Viets break over the walls and charge. They crouch and rip into them FULL AUTOMATIC. They break the charge and continue cutting on about this business. On of the two tanned soldiers rushes up and whispers something to him. He stops. The soldier points to Lance, who immediately puts down the card he was holding. Kilgore strides over to the young man, who almost instinctively moves closer t Willard. Kilgore smiles -- sticks out his hand. Lance blushes, sort of mumbling thanks. Willard eats it, for now. Kilgore puts his hand on Lance's shoulder, and continues flipping the cards in- discriminately on the bodies as they talk. He passes a twisted gun emplacement with about five bodies -- sprinkles cards all over them. He stops at a particularly wild-looking Viet Cong who has died with his mouth agape -- staring wild-eyed in horror at the sky. Kilgore pauses. He puts the card in the gaping mouth. Everywhere we SEE armed men, sandbags, barbed wire, oil drums etc. Hueys are constantly ROARING over. ARTILLERY BOOMS in the far distance. Kilgore looks at the map. He puts his finger on the map. He motions to one of his surfers. Willard looks at Lance -- then at Kilgore. Kilgore gazes out across the parked helicopters. Willard nudges Lance -- who gets the idea. Kilgore turns and looks to Willard, exasperated. Kilgore's helicopter is being loaded with ammunition and has surfboards strapped underneath. He turns to his R.T. man. CLOSE SHOTS of the three surfboards strapped below the command helicopter, next to the fearsome weaponry. And finally, CLOSE SHOTS of the men -- nervous, excited very few of them really scared -- they fondle their rifles, grenade launchers, anti-personnel grenades, claymore mines; plastic explosives cord; flame-throwers; M-60 machine guns; expandable rocket launchers; mortars and bayonets. The helicopter banks into a tight turn and bears toward the coast. The whole copter shakes. Sampans are pulled into a | Lieutenant Colonel Kilgore is an enthusiast of what specific outdoor sport? | Surfing |
their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his over. Then he throws the canteen to Willard. Lance stands up holding his M-16, looks into the cavern with Chef. Willard shoots himself in the arm with the morphine. Willard drinks more of the LSD water. Chef steps into the Headquarters -- he is terrified. He draws his bayonet. Chef rushes at Kurtz with his bayonet -- instinctively, Willard GUNS him -- then there is additional automatic FIRE. Chef is being riddled by bullets. Then hes tops -- Chef falls to the dirt -- there is an instant of silence, then: Another behind him is chanting the word NAPALM softly t himself. We SEE Lance; waiting, with his weapons -- garlands of teeth around his neck, his face painted. Willard looks through the infra-red sniper scope. Colby pushes a row of plungers: Advancing NVAs il- luminated by napalm drums, phosphorescent napalm EXPLODES beautiful, like a magnificent firework. The SOUND DISTORTED of tremendous HOWLING EXPLOSIONS penetrate the track of LIGHT MY FIRE one after another. Kurtz's face is illuminated by each of these. His face seems to change from one grotesgue primitive face to another, as though the whole history mankind is evolv- ing in front of us. The SCREAMS of maimed and dismembered men almost pene- trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's men LAUGHING and SCREAMING in delight. Kurtz looks out over the field of slaughter. Lance is caught in a CROSSFIRE and hit several times. He pulls himself up -- FIRES a final BURST and then falls under the enemy's feet. He turns and runs back through the compound with the receding Montagnards. SHELLS are EXPLODING everywhere. The light patterns are fantastic. Men fall, Viets break over the walls and charge. They crouch and rip into them FULL AUTOMATIC. They break the charge and continue cutting chief, as well as his U.S.A. Colonel's insignia. He is feverish, with long blonde hair and beautiful features. His eyes almost hypnotize. His midsection is bandaged from what seems to be a serious wound. Moonby lights a joint, and passes it respectfully to Kurtz -- throughout the scene, the joint is passed from man to man, ritualistically. There is a clear, incredible intelligence about this man. There is a long pause, as the two men regard each other. Then Willard reaches to his holstered .45 -- withdraws it, and places it on the dirt before Kurtz, as an act assuring Kurtz that he is not an assasin. Kurtz reaches down; takes the .45 -- and without another word or gesture, shoots and kills a man. He throws the .45 back on the dirt. Rises, and walks back into the cavernous headquarters behind the shrunken heads. Moonby scampers off after him, a respectful distance behind. Even Willard is stunned. Lance sleeps by the fire, a little distance away. Chef approaches, crouches down. Lance stirs; starts to wake up. Willard rises. Chef looks at him, confused and frightened. Wild looking savages man these guns, and seem to bow to Willard as he passes. A woman tentatively moves to Willard, bowing, and then runs off to her bunker. WE ARE TRACKING with them as they move past the groups of people, huddled by their fires... men, women and children. Skulls, shrunken and otherwise hang from every hut -- adorn every sandbagged bunker -- dried scalps hang from barbed wire. A child is chewing on a big piece of almost raw meat. They continue past amount where the shattered wreck of half a helicopter is laying. It has been altered and fortified with sandbags and concertina wire. The wreck lays on its side are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. this group. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. I don't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M-16 to automatic, and it jammed. How much money did the contractors make on the M-16 ? Our VIEW IS MOVING through the people on the boat; some reading, flirting, drinking. I wouldn't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we cannot see his face. Willard looks back. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. He sits down at the table with the drinks. The JUKE BOX starts BLARING. Annoyed , Willard looks over his shoulder. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows. Armed men jump from the Huey -- among them Willard. A large camouflaged cover is moved, revealing an underground corridor -- they enter. The whole place has been hewn out of the ground itself and there is a sense of the cut-back jungle growth slowly reclaiming it. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out | Where is the last outpost on the Nung River? | Do Long Bridge |
their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. so that a 7.62 mini-gun that was mounted there sticks up above the sandbags. The emplacement is built on amound so the gun commands a clear field of fire into the jungle beyond. Some Americans, barely recognizible because of their beards and savage manner, sit near the gun. Several Montagnard children giggle at their feet and play with bayonets. Lance just stands there; his eyes vacant.. He sort of nods, sucking a joint. There are other indications of the modern headquarters this had been. Now all those things are no longer impor- tant. Kurtz sits alone, slumped back in a wicker chair. There is a large wooden planning table next to him, with maps, lamps and apile of debris that is practically garbage. There are native decorations to ward off evil spirits; and graffiti on the stone walls, things ranging fromm "Viet Nam, love it or leave it" to quotes of Nietzsche "Nothing is true -- everything is permitted." Moonby, who had been crouching in a corner, moves to Willard. Willard steps in closer. Kurtz looks to Moonby. Moonby hesitates -- not wanting to leave him alone with Willard. He rests back, grinning. Suddenly Kurtz is seized with a terrible pain from his stomach wound. He groans horribly, clutching at it. He literally falls from his chair onto the dirt floor. Willard leans over him; checking the seriousness of the wound. Willard moves to the table, opens the medical packet. He takes out a morphine capsule, leans over the writhing Kurtz and injects him with the drug. Willard quickly prepares another shot. Kurtz, truly frightened, holds up his hand. He rests back. The drug is beginning to take effect. He crawls in pain toward the canteen Willard watches him impassively. He drinks sloppily from the canteen, water spilling all over. Then he throws the canteen to Willard. Lance stands up holding his M-16, looks into the cavern with Chef. Willard shoots himself in the arm with the morphine. Willard drinks more of the LSD water. Chef steps into the Headquarters -- he is terrified. He draws his bayonet. Chef rushes at Kurtz with his bayonet -- instinctively, Willard GUNS him -- then there is additional automatic FIRE. Chef is being riddled by bullets. Then hes tops -- Chef falls to the dirt -- there is an instant of silence, then: Another behind him is chanting the word NAPALM softly t himself. We SEE Lance; waiting, with his weapons -- garlands of teeth around his neck, his face painted. Willard looks through the infra-red sniper scope. Colby pushes a row of plungers: Advancing NVAs il- luminated by napalm drums, phosphorescent napalm EXPLODES beautiful, like a magnificent firework. The SOUND DISTORTED of tremendous HOWLING EXPLOSIONS penetrate the track of LIGHT MY FIRE one after another. Kurtz's face is illuminated by each of these. His face seems to change from one grotesgue primitive face to another, as though the whole history mankind is evolv- ing in front of us. The SCREAMS of maimed and dismembered men almost pene- trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's men LAUGHING and SCREAMING in delight. Kurtz looks out over the field of slaughter. Lance is caught in a CROSSFIRE and hit several times. He pulls himself up -- FIRES a final BURST and then falls under the enemy's feet. He turns and runs back through the compound with the receding Montagnards. SHELLS are EXPLODING everywhere. The light patterns are fantastic. Men fall, Viets break over the walls and charge. They crouch and rip into them FULL AUTOMATIC. They break the charge and continue cutting with a large knife, preparing to scalp the dead. OUR VIEW MOVES AWAY, along with the running sandals of a Vietnamese soldier, MOVING FASTER AND FASTER, only to be stopped by still another of the savage-looking AMERICANS with primitive ornamentation, wearing only a loin-cloth and green beret. He opens his flame-thrower directly ON US and the NVA soldier and we are incinerated in flame, bright psychedelic orange-red flame. Outrageous, loud, electric ROCK MUSIC OVERWHELMS the SOUNDTRACK : Then it EXPLODES, breking apart, and shattering once again. It begins to cool, as the TITLES CONTINUE. It is as though WE ARE MOVING through the white center of cooling flame, forming a spinning web, and becoming more distant. The TITLES CONTINUE. We are MOVING TOWARD planetary nebulae; MOVING through the stars; MOVING closer to the Earth. We can BARELY HEAR the MUSIC now. We MOVE CLOSER to the earth; beautiful, covered in clouds, as though SEEN from a satellite. The TITLES CONTINUE. We are MOVING CLOSER to the earth; through the soft clouds, close enough that we can MAKE OUT the Western Hemisphere; CLOSER to North America; CLOSER, to America, then California; Los Angeles, STILL CLOSER to the odd, finger-like shapes of : It is large, pleasure boat: The people are relaxing in bathing suits and towels and robes. They are drinking cocktails, and snapping pictures. The boat belongs to the head of a large American Corporation, and this is his party. This man, CHARLIE, is sitting, his shirt off to catch some of the late sun. Others have their faces smeared with white suntan oil that reminds us of war paint. Charlie is going on and on : He takes a newspaper, draws a circle. He leans to his associates, in a half-whisper. The VIEW BEGINS TO PULL AWAY from | What color is the smoke grenade that Lance "pops" which has unintended consequences? | Purple |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe this group. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. I don't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M-16 to automatic, and it jammed. How much money did the contractors make on the M-16 ? Our VIEW IS MOVING through the people on the boat; some reading, flirting, drinking. I wouldn't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we cannot see his face. Willard looks back. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. He sits down at the table with the drinks. The JUKE BOX starts BLARING. Annoyed , Willard looks over his shoulder. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows. Armed men jump from the Huey -- among them Willard. A large camouflaged cover is moved, revealing an underground corridor -- they enter. The whole place has been hewn out of the ground itself and there is a sense of the cut-back jungle growth slowly reclaiming it. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. on about this business. On of the two tanned soldiers rushes up and whispers something to him. He stops. The soldier points to Lance, who immediately puts down the card he was holding. Kilgore strides over to the young man, who almost instinctively moves closer t Willard. Kilgore smiles -- sticks out his hand. Lance blushes, sort of mumbling thanks. Willard eats it, for now. Kilgore puts his hand on Lance's shoulder, and continues flipping the cards in- discriminately on the bodies as they talk. He passes a twisted gun emplacement with about five bodies -- sprinkles cards all over them. He stops at a particularly wild-looking Viet Cong who has died with his mouth agape -- staring wild-eyed in horror at the sky. Kilgore pauses. He puts the card in the gaping mouth. Everywhere we SEE armed men, sandbags, barbed wire, oil drums etc. Hueys are constantly ROARING over. ARTILLERY BOOMS in the far distance. Kilgore looks at the map. He puts his finger on the map. He motions to one of his surfers. Willard looks at Lance -- then at Kilgore. Kilgore gazes out across the parked helicopters. Willard nudges Lance -- who gets the idea. Kilgore turns and looks to Willard, exasperated. Kilgore's helicopter is being loaded with ammunition and has surfboards strapped underneath. He turns to his R.T. man. CLOSE SHOTS of the three surfboards strapped below the command helicopter, next to the fearsome weaponry. And finally, CLOSE SHOTS of the men -- nervous, excited very few of them really scared -- they fondle their rifles, grenade launchers, anti-personnel grenades, claymore mines; plastic explosives cord; flame-throwers; M-60 machine guns; expandable rocket launchers; mortars and bayonets. The helicopter banks into a tight turn and bears toward the coast. The whole copter shakes. Sampans are pulled into a their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his | What nationality was the photojournalist who praised Kurtz's leadership? | American |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, this group. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. I don't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M-16 to automatic, and it jammed. How much money did the contractors make on the M-16 ? Our VIEW IS MOVING through the people on the boat; some reading, flirting, drinking. I wouldn't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we cannot see his face. Willard looks back. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. He sits down at the table with the drinks. The JUKE BOX starts BLARING. Annoyed , Willard looks over his shoulder. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows. Armed men jump from the Huey -- among them Willard. A large camouflaged cover is moved, revealing an underground corridor -- they enter. The whole place has been hewn out of the ground itself and there is a sense of the cut-back jungle growth slowly reclaiming it. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out | Kurtz drops whose severed head in to Willard's lap? | Kurtz drops Chefs severed head in Willards lap. |
on about this business. On of the two tanned soldiers rushes up and whispers something to him. He stops. The soldier points to Lance, who immediately puts down the card he was holding. Kilgore strides over to the young man, who almost instinctively moves closer t Willard. Kilgore smiles -- sticks out his hand. Lance blushes, sort of mumbling thanks. Willard eats it, for now. Kilgore puts his hand on Lance's shoulder, and continues flipping the cards in- discriminately on the bodies as they talk. He passes a twisted gun emplacement with about five bodies -- sprinkles cards all over them. He stops at a particularly wild-looking Viet Cong who has died with his mouth agape -- staring wild-eyed in horror at the sky. Kilgore pauses. He puts the card in the gaping mouth. Everywhere we SEE armed men, sandbags, barbed wire, oil drums etc. Hueys are constantly ROARING over. ARTILLERY BOOMS in the far distance. Kilgore looks at the map. He puts his finger on the map. He motions to one of his surfers. Willard looks at Lance -- then at Kilgore. Kilgore gazes out across the parked helicopters. Willard nudges Lance -- who gets the idea. Kilgore turns and looks to Willard, exasperated. Kilgore's helicopter is being loaded with ammunition and has surfboards strapped underneath. He turns to his R.T. man. CLOSE SHOTS of the three surfboards strapped below the command helicopter, next to the fearsome weaponry. And finally, CLOSE SHOTS of the men -- nervous, excited very few of them really scared -- they fondle their rifles, grenade launchers, anti-personnel grenades, claymore mines; plastic explosives cord; flame-throwers; M-60 machine guns; expandable rocket launchers; mortars and bayonets. The helicopter banks into a tight turn and bears toward the coast. The whole copter shakes. Sampans are pulled into a their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his this group. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. I don't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M-16 to automatic, and it jammed. How much money did the contractors make on the M-16 ? Our VIEW IS MOVING through the people on the boat; some reading, flirting, drinking. I wouldn't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we cannot see his face. Willard looks back. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. He sits down at the table with the drinks. The JUKE BOX starts BLARING. Annoyed , Willard looks over his shoulder. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows. Armed men jump from the Huey -- among them Willard. A large camouflaged cover is moved, revealing an underground corridor -- they enter. The whole place has been hewn out of the ground itself and there is a sense of the cut-back jungle growth slowly reclaiming it. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out chief, as well as his U.S.A. Colonel's insignia. He is feverish, with long blonde hair and beautiful features. His eyes almost hypnotize. His midsection is bandaged from what seems to be a serious wound. Moonby lights a joint, and passes it respectfully to Kurtz -- throughout the scene, the joint is passed from man to man, ritualistically. There is a clear, incredible intelligence about this man. There is a long pause, as the two men regard each other. Then Willard reaches to his holstered .45 -- withdraws it, and places it on the dirt before Kurtz, as an act assuring Kurtz that he is not an assasin. Kurtz reaches down; takes the .45 -- and without another word or gesture, shoots and kills a man. He throws the .45 back on the dirt. Rises, and walks back into the cavernous headquarters behind the shrunken heads. Moonby scampers off after him, a respectful distance behind. Even Willard is stunned. Lance sleeps by the fire, a little distance away. Chef approaches, crouches down. Lance stirs; starts to wake up. Willard rises. Chef looks at him, confused and frightened. Wild looking savages man these guns, and seem to bow to Willard as he passes. A woman tentatively moves to Willard, bowing, and then runs off to her bunker. WE ARE TRACKING with them as they move past the groups of people, huddled by their fires... men, women and children. Skulls, shrunken and otherwise hang from every hut -- adorn every sandbagged bunker -- dried scalps hang from barbed wire. A child is chewing on a big piece of almost raw meat. They continue past amount where the shattered wreck of half a helicopter is laying. It has been altered and fortified with sandbags and concertina wire. The wreck lays on its side with a large knife, preparing to scalp the dead. OUR VIEW MOVES AWAY, along with the running sandals of a Vietnamese soldier, MOVING FASTER AND FASTER, only to be stopped by still another of the savage-looking AMERICANS with primitive ornamentation, wearing only a loin-cloth and green beret. He opens his flame-thrower directly ON US and the NVA soldier and we are incinerated in flame, bright psychedelic orange-red flame. Outrageous, loud, electric ROCK MUSIC OVERWHELMS the SOUNDTRACK : Then it EXPLODES, breking apart, and shattering once again. It begins to cool, as the TITLES CONTINUE. It is as though WE ARE MOVING through the white center of cooling flame, forming a spinning web, and becoming more distant. The TITLES CONTINUE. We are MOVING TOWARD planetary nebulae; MOVING through the stars; MOVING closer to the Earth. We can BARELY HEAR the MUSIC now. We MOVE CLOSER to the earth; beautiful, covered in clouds, as though SEEN from a satellite. The TITLES CONTINUE. We are MOVING CLOSER to the earth; through the soft clouds, close enough that we can MAKE OUT the Western Hemisphere; CLOSER to North America; CLOSER, to America, then California; Los Angeles, STILL CLOSER to the odd, finger-like shapes of : It is large, pleasure boat: The people are relaxing in bathing suits and towels and robes. They are drinking cocktails, and snapping pictures. The boat belongs to the head of a large American Corporation, and this is his party. This man, CHARLIE, is sitting, his shirt off to catch some of the late sun. Others have their faces smeared with white suntan oil that reminds us of war paint. Charlie is going on and on : He takes a newspaper, draws a circle. He leans to his associates, in a half-whisper. The VIEW BEGINS TO PULL AWAY from | Kurtz praises what group for their dedication and ruthlessness? | The Viet Cong |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his this group. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. I don't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M-16 to automatic, and it jammed. How much money did the contractors make on the M-16 ? Our VIEW IS MOVING through the people on the boat; some reading, flirting, drinking. I wouldn't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we cannot see his face. Willard looks back. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. He sits down at the table with the drinks. The JUKE BOX starts BLARING. Annoyed , Willard looks over his shoulder. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows. Armed men jump from the Huey -- among them Willard. A large camouflaged cover is moved, revealing an underground corridor -- they enter. The whole place has been hewn out of the ground itself and there is a sense of the cut-back jungle growth slowly reclaiming it. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out chief, as well as his U.S.A. Colonel's insignia. He is feverish, with long blonde hair and beautiful features. His eyes almost hypnotize. His midsection is bandaged from what seems to be a serious wound. Moonby lights a joint, and passes it respectfully to Kurtz -- throughout the scene, the joint is passed from man to man, ritualistically. There is a clear, incredible intelligence about this man. There is a long pause, as the two men regard each other. Then Willard reaches to his holstered .45 -- withdraws it, and places it on the dirt before Kurtz, as an act assuring Kurtz that he is not an assasin. Kurtz reaches down; takes the .45 -- and without another word or gesture, shoots and kills a man. He throws the .45 back on the dirt. Rises, and walks back into the cavernous headquarters behind the shrunken heads. Moonby scampers off after him, a respectful distance behind. Even Willard is stunned. Lance sleeps by the fire, a little distance away. Chef approaches, crouches down. Lance stirs; starts to wake up. Willard rises. Chef looks at him, confused and frightened. Wild looking savages man these guns, and seem to bow to Willard as he passes. A woman tentatively moves to Willard, bowing, and then runs off to her bunker. WE ARE TRACKING with them as they move past the groups of people, huddled by their fires... men, women and children. Skulls, shrunken and otherwise hang from every hut -- adorn every sandbagged bunker -- dried scalps hang from barbed wire. A child is chewing on a big piece of almost raw meat. They continue past amount where the shattered wreck of half a helicopter is laying. It has been altered and fortified with sandbags and concertina wire. The wreck lays on its side | The Montagnards kill what wild animal in a ceremonial slaughter? | Water Buffalo |
their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN exits f.g. The SHOE CLANGS off his helmet. The Soldier ducks back and runs away. Other men approach the boat. A young LIEUTENANT steps forward. He hands up a plastic bag, maximum security markings, Willard takes it. He points to the men getting ready to work. He turns and splashes off into the darkness. SHELLS WHISTLE OVER and CRASH into the bridge -- MEN SCREAM in the distance -- the EXPLOSIONS are thunderous. Willard climbs out with Lance. Willard nods and they scurry off the bank under the bridge. They dive towards the voice. The Soldier doesn't respond. There is an apparent lull and they dash out along the road. Suddenly to their right an M-60 STARTS OPENING UP from a sandbagged emplacement. They drop and crawl to the slit trench and run up to the emplacement. Several SOLDIERS man a M-60. One has a sniper rifle -- another tries to spot for the Gunner. Willard and Lance edge up along the trench. Willard trips. Willard looks down. They move ahead more carefully. The Gunner BLASTS away into the night, there is a pile of brass cases about three feet high next to him. Finally he stops swearing to himself. He turns and sees it's an officer. There is a low moaning SCREAM from out in the wire -- it stops for aminute then continues hideously. The Spotter does, it arcs up, then bathes them in eerie light. The Gunner FIRES a long BURST. They think about this as the flare goes out. The SCREAMING gets more intense. The Spotter moves down to where a tall lanky SOLDIER is leaned up against the trench. He kicks him hard several times. Roach wakes and just looks up. On his helmet are the words: "GOD BLESS DOW." He listens, he does, he are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. TO REVEAL a small village of huts along the bank. The river widens and the trees at its edge are soft and seductive. The hills beyond are purple and lush. Strange orange colored water-fowl swim lazily out of their way. The water itself is glass smooth and black as if there were no bottom. The sun is warm and the breeze gentle and laced with wild gardenians. It is indeed the most peaceful valley in all the world and each man looks upon it and has never known such a sense of peace and well- being. Each man in his heart feels a need to stay -- his soul cries to stop -- stop their madness -- this spiral into hell. Here is all that can be had of earth. But no hand moves. The boat drifts on its own toward a hole at the end of the clearing. A hole into the jungle from which a darkness permeats. The boat follows the river into this hole. Lance's TWIN FIFTIES split the silence as they POUR into the skulls on the opposite bank -- Suddenly there is a tremendous EXPLOSION and SECONDARY ONES from the jungle as shrapnel rips into the jungle and water from CLAYMORE MINES obviously set to cover the mound of skulls. The smoke clears. There is silence. Willard motions -- the Chief accelerates -- they move ahead past the smoking mound. The boat disappears in the thick fog. The P.B.R. moves toard the right-most channel. Chef takes a long pole and begins sounding depth. Suddenly Chef lays out flat on the bow. Hundreds and hundreds of slender sticks fly onto the P.B.R. rattling against the boat. But Chief seems out of control -- he lets the clip of his M-16 go. Then slowly lets the rifle | Who kills Kurtz with the machete? | Willard |
turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. so that a 7.62 mini-gun that was mounted there sticks up above the sandbags. The emplacement is built on amound so the gun commands a clear field of fire into the jungle beyond. Some Americans, barely recognizible because of their beards and savage manner, sit near the gun. Several Montagnard children giggle at their feet and play with bayonets. Lance just stands there; his eyes vacant.. He sort of nods, sucking a joint. There are other indications of the modern headquarters this had been. Now all those things are no longer impor- tant. Kurtz sits alone, slumped back in a wicker chair. There is a large wooden planning table next to him, with maps, lamps and apile of debris that is practically garbage. There are native decorations to ward off evil spirits; and graffiti on the stone walls, things ranging fromm "Viet Nam, love it or leave it" to quotes of Nietzsche "Nothing is true -- everything is permitted." Moonby, who had been crouching in a corner, moves to Willard. Willard steps in closer. Kurtz looks to Moonby. Moonby hesitates -- not wanting to leave him alone with Willard. He rests back, grinning. Suddenly Kurtz is seized with a terrible pain from his stomach wound. He groans horribly, clutching at it. He literally falls from his chair onto the dirt floor. Willard leans over him; checking the seriousness of the wound. Willard moves to the table, opens the medical packet. He takes out a morphine capsule, leans over the writhing Kurtz and injects him with the drug. Willard quickly prepares another shot. Kurtz, truly frightened, holds up his hand. He rests back. The drug is beginning to take effect. He crawls in pain toward the canteen Willard watches him impassively. He drinks sloppily from the canteen, water spilling all over. Then he throws the canteen to Willard. Lance stands up holding his M-16, looks into the cavern with Chef. Willard shoots himself in the arm with the morphine. Willard drinks more of the LSD water. Chef steps into the Headquarters -- he is terrified. He draws his bayonet. Chef rushes at Kurtz with his bayonet -- instinctively, Willard GUNS him -- then there is additional automatic FIRE. Chef is being riddled by bullets. Then hes tops -- Chef falls to the dirt -- there is an instant of silence, then: Another behind him is chanting the word NAPALM softly t himself. We SEE Lance; waiting, with his weapons -- garlands of teeth around his neck, his face painted. Willard looks through the infra-red sniper scope. Colby pushes a row of plungers: Advancing NVAs il- luminated by napalm drums, phosphorescent napalm EXPLODES beautiful, like a magnificent firework. The SOUND DISTORTED of tremendous HOWLING EXPLOSIONS penetrate the track of LIGHT MY FIRE one after another. Kurtz's face is illuminated by each of these. His face seems to change from one grotesgue primitive face to another, as though the whole history mankind is evolv- ing in front of us. The SCREAMS of maimed and dismembered men almost pene- trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's men LAUGHING and SCREAMING in delight. Kurtz looks out over the field of slaughter. Lance is caught in a CROSSFIRE and hit several times. He pulls himself up -- FIRES a final BURST and then falls under the enemy's feet. He turns and runs back through the compound with the receding Montagnards. SHELLS are EXPLODING everywhere. The light patterns are fantastic. Men fall, Viets break over the walls and charge. They crouch and rip into them FULL AUTOMATIC. They break the charge and continue cutting | When Kurtz was mortally woundedby a machete, what two words does he repeat with his final breaths? | The horror |
turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, this group. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. I don't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M-16 to automatic, and it jammed. How much money did the contractors make on the M-16 ? Our VIEW IS MOVING through the people on the boat; some reading, flirting, drinking. I wouldn't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we cannot see his face. Willard looks back. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. He sits down at the table with the drinks. The JUKE BOX starts BLARING. Annoyed , Willard looks over his shoulder. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows. Armed men jump from the Huey -- among them Willard. A large camouflaged cover is moved, revealing an underground corridor -- they enter. The whole place has been hewn out of the ground itself and there is a sense of the cut-back jungle growth slowly reclaiming it. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out eyes. There is a slight smile. Kurtz looks up to him, then an expression of overwhelming intense and hopeless terror, hopeless despair. A whisper at some image, at some vision, he cries out twice, a cry that is no more than a breath. We HEAR the distant SOUND of HELICOPTERS approaching. The SOUND of ROTORS in the distance. They look up, craning their eyes at the sky. Colby points. Over the jungle mountains the small formation of MEDEVAC helicopters hooping toward them. The helicopters are closer now but high up. Two of them breaking off, spiraling in TOWARD US. Copters directly overhead. He raises his M-16 and FIRES the entire clip at the ap- proaching rescue helicopter. Colby takes his rifle and joins Willard in FIRING at the retreating American helicopters. Pause. Willard is very silent. Willard, years later, dressed as a civilian, proceeds past the lawn to the attractive home, carrying a packet under his arm. He passes a lanky, young teen-aged boy working on a motor-scooter. Willard looks at him. The boy looks back. Then the door opens, and KURTZ'S WIFE is standing at the door. She is still beautiful, blonde, and dressed in mourning even though she doesn't wear black. There is a sense of purity about her, though she is not young. She stands in the center of the room, a little nervous. There are pictures of Kurtz, not too many... but he is there in the various stages of his career. Then she sits suddenly, and Willard sits by her. He sits there looking at her. We MOVE FROM Willard standing alone on the deck of the boat. Moving back through the departing guests. Charlie is getting ready to leave himself. We MOVE CLOSER to Willard. | What two characters are left motoring away together from the camp in the final seen? | Willard and Lance |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. TO REVEAL a small village of huts along the bank. The river widens and the trees at its edge are soft and seductive. The hills beyond are purple and lush. Strange orange colored water-fowl swim lazily out of their way. The water itself is glass smooth and black as if there were no bottom. The sun is warm and the breeze gentle and laced with wild gardenians. It is indeed the most peaceful valley in all the world and each man looks upon it and has never known such a sense of peace and well- being. Each man in his heart feels a need to stay -- his soul cries to stop -- stop their madness -- this spiral into hell. Here is all that can be had of earth. But no hand moves. The boat drifts on its own toward a hole at the end of the clearing. A hole into the jungle from which a darkness permeats. The boat follows the river into this hole. Lance's TWIN FIFTIES split the silence as they POUR into the skulls on the opposite bank -- Suddenly there is a tremendous EXPLOSION and SECONDARY ONES from the jungle as shrapnel rips into the jungle and water from CLAYMORE MINES obviously set to cover the mound of skulls. The smoke clears. There is silence. Willard motions -- the Chief accelerates -- they move ahead past the smoking mound. The boat disappears in the thick fog. The P.B.R. moves toard the right-most channel. Chef takes a long pole and begins sounding depth. Suddenly Chef lays out flat on the bow. Hundreds and hundreds of slender sticks fly onto the P.B.R. rattling against the boat. But Chief seems out of control -- he lets the clip of his M-16 go. Then slowly lets the rifle turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN | In what year did this story take place? | The story takes place in 1967. |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. TO REVEAL a small village of huts along the bank. The river widens and the trees at its edge are soft and seductive. The hills beyond are purple and lush. Strange orange colored water-fowl swim lazily out of their way. The water itself is glass smooth and black as if there were no bottom. The sun is warm and the breeze gentle and laced with wild gardenians. It is indeed the most peaceful valley in all the world and each man looks upon it and has never known such a sense of peace and well- being. Each man in his heart feels a need to stay -- his soul cries to stop -- stop their madness -- this spiral into hell. Here is all that can be had of earth. But no hand moves. The boat drifts on its own toward a hole at the end of the clearing. A hole into the jungle from which a darkness permeats. The boat follows the river into this hole. Lance's TWIN FIFTIES split the silence as they POUR into the skulls on the opposite bank -- Suddenly there is a tremendous EXPLOSION and SECONDARY ONES from the jungle as shrapnel rips into the jungle and water from CLAYMORE MINES obviously set to cover the mound of skulls. The smoke clears. There is silence. Willard motions -- the Chief accelerates -- they move ahead past the smoking mound. The boat disappears in the thick fog. The P.B.R. moves toard the right-most channel. Chef takes a long pole and begins sounding depth. Suddenly Chef lays out flat on the bow. Hundreds and hundreds of slender sticks fly onto the P.B.R. rattling against the boat. But Chief seems out of control -- he lets the clip of his M-16 go. Then slowly lets the rifle Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, so that a 7.62 mini-gun that was mounted there sticks up above the sandbags. The emplacement is built on amound so the gun commands a clear field of fire into the jungle beyond. Some Americans, barely recognizible because of their beards and savage manner, sit near the gun. Several Montagnard children giggle at their feet and play with bayonets. Lance just stands there; his eyes vacant.. He sort of nods, sucking a joint. There are other indications of the modern headquarters this had been. Now all those things are no longer impor- tant. Kurtz sits alone, slumped back in a wicker chair. There is a large wooden planning table next to him, with maps, lamps and apile of debris that is practically garbage. There are native decorations to ward off evil spirits; and graffiti on the stone walls, things ranging fromm "Viet Nam, love it or leave it" to quotes of Nietzsche "Nothing is true -- everything is permitted." Moonby, who had been crouching in a corner, moves to Willard. Willard steps in closer. Kurtz looks to Moonby. Moonby hesitates -- not wanting to leave him alone with Willard. He rests back, grinning. Suddenly Kurtz is seized with a terrible pain from his stomach wound. He groans horribly, clutching at it. He literally falls from his chair onto the dirt floor. Willard leans over him; checking the seriousness of the wound. Willard moves to the table, opens the medical packet. He takes out a morphine capsule, leans over the writhing Kurtz and injects him with the drug. Willard quickly prepares another shot. Kurtz, truly frightened, holds up his hand. He rests back. The drug is beginning to take effect. He crawls in pain toward the canteen Willard watches him impassively. He drinks sloppily from the canteen, water spilling all | Why did tension arise between Willard and Chief? | Tension arose because Willard thought he was in command of the PBR while Chief prioritized other objectives over Willard's secret mission. |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. this group. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. I don't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M-16 to automatic, and it jammed. How much money did the contractors make on the M-16 ? Our VIEW IS MOVING through the people on the boat; some reading, flirting, drinking. I wouldn't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we cannot see his face. Willard looks back. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. He sits down at the table with the drinks. The JUKE BOX starts BLARING. Annoyed , Willard looks over his shoulder. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows. Armed men jump from the Huey -- among them Willard. A large camouflaged cover is moved, revealing an underground corridor -- they enter. The whole place has been hewn out of the ground itself and there is a sense of the cut-back jungle growth slowly reclaiming it. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN | On the next day, what information does Willard receive via dispatch? | Willard finds out that another Studies and Observation Group, Captain Colby, had joined Kurtz. |
are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his TO REVEAL a small village of huts along the bank. The river widens and the trees at its edge are soft and seductive. The hills beyond are purple and lush. Strange orange colored water-fowl swim lazily out of their way. The water itself is glass smooth and black as if there were no bottom. The sun is warm and the breeze gentle and laced with wild gardenians. It is indeed the most peaceful valley in all the world and each man looks upon it and has never known such a sense of peace and well- being. Each man in his heart feels a need to stay -- his soul cries to stop -- stop their madness -- this spiral into hell. Here is all that can be had of earth. But no hand moves. The boat drifts on its own toward a hole at the end of the clearing. A hole into the jungle from which a darkness permeats. The boat follows the river into this hole. Lance's TWIN FIFTIES split the silence as they POUR into the skulls on the opposite bank -- Suddenly there is a tremendous EXPLOSION and SECONDARY ONES from the jungle as shrapnel rips into the jungle and water from CLAYMORE MINES obviously set to cover the mound of skulls. The smoke clears. There is silence. Willard motions -- the Chief accelerates -- they move ahead past the smoking mound. The boat disappears in the thick fog. The P.B.R. moves toard the right-most channel. Chef takes a long pole and begins sounding depth. Suddenly Chef lays out flat on the bow. Hundreds and hundreds of slender sticks fly onto the P.B.R. rattling against the boat. But Chief seems out of control -- he lets the clip of his M-16 go. Then slowly lets the rifle on about this business. On of the two tanned soldiers rushes up and whispers something to him. He stops. The soldier points to Lance, who immediately puts down the card he was holding. Kilgore strides over to the young man, who almost instinctively moves closer t Willard. Kilgore smiles -- sticks out his hand. Lance blushes, sort of mumbling thanks. Willard eats it, for now. Kilgore puts his hand on Lance's shoulder, and continues flipping the cards in- discriminately on the bodies as they talk. He passes a twisted gun emplacement with about five bodies -- sprinkles cards all over them. He stops at a particularly wild-looking Viet Cong who has died with his mouth agape -- staring wild-eyed in horror at the sky. Kilgore pauses. He puts the card in the gaping mouth. Everywhere we SEE armed men, sandbags, barbed wire, oil drums etc. Hueys are constantly ROARING over. ARTILLERY BOOMS in the far distance. Kilgore looks at the map. He puts his finger on the map. He motions to one of his surfers. Willard looks at Lance -- then at Kilgore. Kilgore gazes out across the parked helicopters. Willard nudges Lance -- who gets the idea. Kilgore turns and looks to Willard, exasperated. Kilgore's helicopter is being loaded with ammunition and has surfboards strapped underneath. He turns to his R.T. man. CLOSE SHOTS of the three surfboards strapped below the command helicopter, next to the fearsome weaponry. And finally, CLOSE SHOTS of the men -- nervous, excited very few of them really scared -- they fondle their rifles, grenade launchers, anti-personnel grenades, claymore mines; plastic explosives cord; flame-throwers; M-60 machine guns; expandable rocket launchers; mortars and bayonets. The helicopter banks into a tight turn and bears toward the coast. The whole copter shakes. Sampans are pulled into a chief, as well as his U.S.A. Colonel's insignia. He is feverish, with long blonde hair and beautiful features. His eyes almost hypnotize. His midsection is bandaged from what seems to be a serious wound. Moonby lights a joint, and passes it respectfully to Kurtz -- throughout the scene, the joint is passed from man to man, ritualistically. There is a clear, incredible intelligence about this man. There is a long pause, as the two men regard each other. Then Willard reaches to his holstered .45 -- withdraws it, and places it on the dirt before Kurtz, as an act assuring Kurtz that he is not an assasin. Kurtz reaches down; takes the .45 -- and without another word or gesture, shoots and kills a man. He throws the .45 back on the dirt. Rises, and walks back into the cavernous headquarters behind the shrunken heads. Moonby scampers off after him, a respectful distance behind. Even Willard is stunned. Lance sleeps by the fire, a little distance away. Chef approaches, crouches down. Lance stirs; starts to wake up. Willard rises. Chef looks at him, confused and frightened. Wild looking savages man these guns, and seem to bow to Willard as he passes. A woman tentatively moves to Willard, bowing, and then runs off to her bunker. WE ARE TRACKING with them as they move past the groups of people, huddled by their fires... men, women and children. Skulls, shrunken and otherwise hang from every hut -- adorn every sandbagged bunker -- dried scalps hang from barbed wire. A child is chewing on a big piece of almost raw meat. They continue past amount where the shattered wreck of half a helicopter is laying. It has been altered and fortified with sandbags and concertina wire. The wreck lays on its side | Who is chief attacked by further up the river? | The Natives |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN | Who is Willard brought before in the camp? | Kurtz |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. over. Then he throws the canteen to Willard. Lance stands up holding his M-16, looks into the cavern with Chef. Willard shoots himself in the arm with the morphine. Willard drinks more of the LSD water. Chef steps into the Headquarters -- he is terrified. He draws his bayonet. Chef rushes at Kurtz with his bayonet -- instinctively, Willard GUNS him -- then there is additional automatic FIRE. Chef is being riddled by bullets. Then hes tops -- Chef falls to the dirt -- there is an instant of silence, then: Another behind him is chanting the word NAPALM softly t himself. We SEE Lance; waiting, with his weapons -- garlands of teeth around his neck, his face painted. Willard looks through the infra-red sniper scope. Colby pushes a row of plungers: Advancing NVAs il- luminated by napalm drums, phosphorescent napalm EXPLODES beautiful, like a magnificent firework. The SOUND DISTORTED of tremendous HOWLING EXPLOSIONS penetrate the track of LIGHT MY FIRE one after another. Kurtz's face is illuminated by each of these. His face seems to change from one grotesgue primitive face to another, as though the whole history mankind is evolv- ing in front of us. The SCREAMS of maimed and dismembered men almost pene- trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's men LAUGHING and SCREAMING in delight. Kurtz looks out over the field of slaughter. Lance is caught in a CROSSFIRE and hit several times. He pulls himself up -- FIRES a final BURST and then falls under the enemy's feet. He turns and runs back through the compound with the receding Montagnards. SHELLS are EXPLODING everywhere. The light patterns are fantastic. Men fall, Viets break over the walls and charge. They crouch and rip into them FULL AUTOMATIC. They break the charge and continue cutting Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN | In the event of death, what does Kurtz tell Willard to do? | Willard is to tell Kurtz' son about him. |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his | Who does Willard take by hand and lead to the boat? | Lance |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN this group. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. I don't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M-16 to automatic, and it jammed. How much money did the contractors make on the M-16 ? Our VIEW IS MOVING through the people on the boat; some reading, flirting, drinking. I wouldn't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we cannot see his face. Willard looks back. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. He sits down at the table with the drinks. The JUKE BOX starts BLARING. Annoyed , Willard looks over his shoulder. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows. Armed men jump from the Huey -- among them Willard. A large camouflaged cover is moved, revealing an underground corridor -- they enter. The whole place has been hewn out of the ground itself and there is a sense of the cut-back jungle growth slowly reclaiming it. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, | Does the audience know Kurtz' final words as he departs? | The audience does not know the final words of Kurtz. |
are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. TO REVEAL a small village of huts along the bank. The river widens and the trees at its edge are soft and seductive. The hills beyond are purple and lush. Strange orange colored water-fowl swim lazily out of their way. The water itself is glass smooth and black as if there were no bottom. The sun is warm and the breeze gentle and laced with wild gardenians. It is indeed the most peaceful valley in all the world and each man looks upon it and has never known such a sense of peace and well- being. Each man in his heart feels a need to stay -- his soul cries to stop -- stop their madness -- this spiral into hell. Here is all that can be had of earth. But no hand moves. The boat drifts on its own toward a hole at the end of the clearing. A hole into the jungle from which a darkness permeats. The boat follows the river into this hole. Lance's TWIN FIFTIES split the silence as they POUR into the skulls on the opposite bank -- Suddenly there is a tremendous EXPLOSION and SECONDARY ONES from the jungle as shrapnel rips into the jungle and water from CLAYMORE MINES obviously set to cover the mound of skulls. The smoke clears. There is silence. Willard motions -- the Chief accelerates -- they move ahead past the smoking mound. The boat disappears in the thick fog. The P.B.R. moves toard the right-most channel. Chef takes a long pole and begins sounding depth. Suddenly Chef lays out flat on the bow. Hundreds and hundreds of slender sticks fly onto the P.B.R. rattling against the boat. But Chief seems out of control -- he lets the clip of his M-16 go. Then slowly lets the rifle their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his chief, as well as his U.S.A. Colonel's insignia. He is feverish, with long blonde hair and beautiful features. His eyes almost hypnotize. His midsection is bandaged from what seems to be a serious wound. Moonby lights a joint, and passes it respectfully to Kurtz -- throughout the scene, the joint is passed from man to man, ritualistically. There is a clear, incredible intelligence about this man. There is a long pause, as the two men regard each other. Then Willard reaches to his holstered .45 -- withdraws it, and places it on the dirt before Kurtz, as an act assuring Kurtz that he is not an assasin. Kurtz reaches down; takes the .45 -- and without another word or gesture, shoots and kills a man. He throws the .45 back on the dirt. Rises, and walks back into the cavernous headquarters behind the shrunken heads. Moonby scampers off after him, a respectful distance behind. Even Willard is stunned. Lance sleeps by the fire, a little distance away. Chef approaches, crouches down. Lance stirs; starts to wake up. Willard rises. Chef looks at him, confused and frightened. Wild looking savages man these guns, and seem to bow to Willard as he passes. A woman tentatively moves to Willard, bowing, and then runs off to her bunker. WE ARE TRACKING with them as they move past the groups of people, huddled by their fires... men, women and children. Skulls, shrunken and otherwise hang from every hut -- adorn every sandbagged bunker -- dried scalps hang from barbed wire. A child is chewing on a big piece of almost raw meat. They continue past amount where the shattered wreck of half a helicopter is laying. It has been altered and fortified with sandbags and concertina wire. The wreck lays on its side over. Then he throws the canteen to Willard. Lance stands up holding his M-16, looks into the cavern with Chef. Willard shoots himself in the arm with the morphine. Willard drinks more of the LSD water. Chef steps into the Headquarters -- he is terrified. He draws his bayonet. Chef rushes at Kurtz with his bayonet -- instinctively, Willard GUNS him -- then there is additional automatic FIRE. Chef is being riddled by bullets. Then hes tops -- Chef falls to the dirt -- there is an instant of silence, then: Another behind him is chanting the word NAPALM softly t himself. We SEE Lance; waiting, with his weapons -- garlands of teeth around his neck, his face painted. Willard looks through the infra-red sniper scope. Colby pushes a row of plungers: Advancing NVAs il- luminated by napalm drums, phosphorescent napalm EXPLODES beautiful, like a magnificent firework. The SOUND DISTORTED of tremendous HOWLING EXPLOSIONS penetrate the track of LIGHT MY FIRE one after another. Kurtz's face is illuminated by each of these. His face seems to change from one grotesgue primitive face to another, as though the whole history mankind is evolv- ing in front of us. The SCREAMS of maimed and dismembered men almost pene- trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's men LAUGHING and SCREAMING in delight. Kurtz looks out over the field of slaughter. Lance is caught in a CROSSFIRE and hit several times. He pulls himself up -- FIRES a final BURST and then falls under the enemy's feet. He turns and runs back through the compound with the receding Montagnards. SHELLS are EXPLODING everywhere. The light patterns are fantastic. Men fall, Viets break over the walls and charge. They crouch and rip into them FULL AUTOMATIC. They break the charge and continue cutting | During which war does this story take place? | The Vietnam War |
are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. so that a 7.62 mini-gun that was mounted there sticks up above the sandbags. The emplacement is built on amound so the gun commands a clear field of fire into the jungle beyond. Some Americans, barely recognizible because of their beards and savage manner, sit near the gun. Several Montagnard children giggle at their feet and play with bayonets. Lance just stands there; his eyes vacant.. He sort of nods, sucking a joint. There are other indications of the modern headquarters this had been. Now all those things are no longer impor- tant. Kurtz sits alone, slumped back in a wicker chair. There is a large wooden planning table next to him, with maps, lamps and apile of debris that is practically garbage. There are native decorations to ward off evil spirits; and graffiti on the stone walls, things ranging fromm "Viet Nam, love it or leave it" to quotes of Nietzsche "Nothing is true -- everything is permitted." Moonby, who had been crouching in a corner, moves to Willard. Willard steps in closer. Kurtz looks to Moonby. Moonby hesitates -- not wanting to leave him alone with Willard. He rests back, grinning. Suddenly Kurtz is seized with a terrible pain from his stomach wound. He groans horribly, clutching at it. He literally falls from his chair onto the dirt floor. Willard leans over him; checking the seriousness of the wound. Willard moves to the table, opens the medical packet. He takes out a morphine capsule, leans over the writhing Kurtz and injects him with the drug. Willard quickly prepares another shot. Kurtz, truly frightened, holds up his hand. He rests back. The drug is beginning to take effect. He crawls in pain toward the canteen Willard watches him impassively. He drinks sloppily from the canteen, water spilling all their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his on about this business. On of the two tanned soldiers rushes up and whispers something to him. He stops. The soldier points to Lance, who immediately puts down the card he was holding. Kilgore strides over to the young man, who almost instinctively moves closer t Willard. Kilgore smiles -- sticks out his hand. Lance blushes, sort of mumbling thanks. Willard eats it, for now. Kilgore puts his hand on Lance's shoulder, and continues flipping the cards in- discriminately on the bodies as they talk. He passes a twisted gun emplacement with about five bodies -- sprinkles cards all over them. He stops at a particularly wild-looking Viet Cong who has died with his mouth agape -- staring wild-eyed in horror at the sky. Kilgore pauses. He puts the card in the gaping mouth. Everywhere we SEE armed men, sandbags, barbed wire, oil drums etc. Hueys are constantly ROARING over. ARTILLERY BOOMS in the far distance. Kilgore looks at the map. He puts his finger on the map. He motions to one of his surfers. Willard looks at Lance -- then at Kilgore. Kilgore gazes out across the parked helicopters. Willard nudges Lance -- who gets the idea. Kilgore turns and looks to Willard, exasperated. Kilgore's helicopter is being loaded with ammunition and has surfboards strapped underneath. He turns to his R.T. man. CLOSE SHOTS of the three surfboards strapped below the command helicopter, next to the fearsome weaponry. And finally, CLOSE SHOTS of the men -- nervous, excited very few of them really scared -- they fondle their rifles, grenade launchers, anti-personnel grenades, claymore mines; plastic explosives cord; flame-throwers; M-60 machine guns; expandable rocket launchers; mortars and bayonets. The helicopter banks into a tight turn and bears toward the coast. The whole copter shakes. Sampans are pulled into a over. Then he throws the canteen to Willard. Lance stands up holding his M-16, looks into the cavern with Chef. Willard shoots himself in the arm with the morphine. Willard drinks more of the LSD water. Chef steps into the Headquarters -- he is terrified. He draws his bayonet. Chef rushes at Kurtz with his bayonet -- instinctively, Willard GUNS him -- then there is additional automatic FIRE. Chef is being riddled by bullets. Then hes tops -- Chef falls to the dirt -- there is an instant of silence, then: Another behind him is chanting the word NAPALM softly t himself. We SEE Lance; waiting, with his weapons -- garlands of teeth around his neck, his face painted. Willard looks through the infra-red sniper scope. Colby pushes a row of plungers: Advancing NVAs il- luminated by napalm drums, phosphorescent napalm EXPLODES beautiful, like a magnificent firework. The SOUND DISTORTED of tremendous HOWLING EXPLOSIONS penetrate the track of LIGHT MY FIRE one after another. Kurtz's face is illuminated by each of these. His face seems to change from one grotesgue primitive face to another, as though the whole history mankind is evolv- ing in front of us. The SCREAMS of maimed and dismembered men almost pene- trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's men LAUGHING and SCREAMING in delight. Kurtz looks out over the field of slaughter. Lance is caught in a CROSSFIRE and hit several times. He pulls himself up -- FIRES a final BURST and then falls under the enemy's feet. He turns and runs back through the compound with the receding Montagnards. SHELLS are EXPLODING everywhere. The light patterns are fantastic. Men fall, Viets break over the walls and charge. They crouch and rip into them FULL AUTOMATIC. They break the charge and continue cutting | Who demands for Chef to call in an airstrike on Kurtz' compound if they do not return? | Willard |
this group. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. I don't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M-16 to automatic, and it jammed. How much money did the contractors make on the M-16 ? Our VIEW IS MOVING through the people on the boat; some reading, flirting, drinking. I wouldn't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we cannot see his face. Willard looks back. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. He sits down at the table with the drinks. The JUKE BOX starts BLARING. Annoyed , Willard looks over his shoulder. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows. Armed men jump from the Huey -- among them Willard. A large camouflaged cover is moved, revealing an underground corridor -- they enter. The whole place has been hewn out of the ground itself and there is a sense of the cut-back jungle growth slowly reclaiming it. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his so that a 7.62 mini-gun that was mounted there sticks up above the sandbags. The emplacement is built on amound so the gun commands a clear field of fire into the jungle beyond. Some Americans, barely recognizible because of their beards and savage manner, sit near the gun. Several Montagnard children giggle at their feet and play with bayonets. Lance just stands there; his eyes vacant.. He sort of nods, sucking a joint. There are other indications of the modern headquarters this had been. Now all those things are no longer impor- tant. Kurtz sits alone, slumped back in a wicker chair. There is a large wooden planning table next to him, with maps, lamps and apile of debris that is practically garbage. There are native decorations to ward off evil spirits; and graffiti on the stone walls, things ranging fromm "Viet Nam, love it or leave it" to quotes of Nietzsche "Nothing is true -- everything is permitted." Moonby, who had been crouching in a corner, moves to Willard. Willard steps in closer. Kurtz looks to Moonby. Moonby hesitates -- not wanting to leave him alone with Willard. He rests back, grinning. Suddenly Kurtz is seized with a terrible pain from his stomach wound. He groans horribly, clutching at it. He literally falls from his chair onto the dirt floor. Willard leans over him; checking the seriousness of the wound. Willard moves to the table, opens the medical packet. He takes out a morphine capsule, leans over the writhing Kurtz and injects him with the drug. Willard quickly prepares another shot. Kurtz, truly frightened, holds up his hand. He rests back. The drug is beginning to take effect. He crawls in pain toward the canteen Willard watches him impassively. He drinks sloppily from the canteen, water spilling all eyes. There is a slight smile. Kurtz looks up to him, then an expression of overwhelming intense and hopeless terror, hopeless despair. A whisper at some image, at some vision, he cries out twice, a cry that is no more than a breath. We HEAR the distant SOUND of HELICOPTERS approaching. The SOUND of ROTORS in the distance. They look up, craning their eyes at the sky. Colby points. Over the jungle mountains the small formation of MEDEVAC helicopters hooping toward them. The helicopters are closer now but high up. Two of them breaking off, spiraling in TOWARD US. Copters directly overhead. He raises his M-16 and FIRES the entire clip at the ap- proaching rescue helicopter. Colby takes his rifle and joins Willard in FIRING at the retreating American helicopters. Pause. Willard is very silent. Willard, years later, dressed as a civilian, proceeds past the lawn to the attractive home, carrying a packet under his arm. He passes a lanky, young teen-aged boy working on a motor-scooter. Willard looks at him. The boy looks back. Then the door opens, and KURTZ'S WIFE is standing at the door. She is still beautiful, blonde, and dressed in mourning even though she doesn't wear black. There is a sense of purity about her, though she is not young. She stands in the center of the room, a little nervous. There are pictures of Kurtz, not too many... but he is there in the various stages of his career. Then she sits suddenly, and Willard sits by her. He sits there looking at her. We MOVE FROM Willard standing alone on the deck of the boat. Moving back through the departing guests. Charlie is getting ready to leave himself. We MOVE CLOSER to Willard. | Who assigns U.S. Army veteran Williard to terminate the command of Colonel Kurtz? | Colonel Lucas and General Corman |
their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN exits f.g. The SHOE CLANGS off his helmet. The Soldier ducks back and runs away. Other men approach the boat. A young LIEUTENANT steps forward. He hands up a plastic bag, maximum security markings, Willard takes it. He points to the men getting ready to work. He turns and splashes off into the darkness. SHELLS WHISTLE OVER and CRASH into the bridge -- MEN SCREAM in the distance -- the EXPLOSIONS are thunderous. Willard climbs out with Lance. Willard nods and they scurry off the bank under the bridge. They dive towards the voice. The Soldier doesn't respond. There is an apparent lull and they dash out along the road. Suddenly to their right an M-60 STARTS OPENING UP from a sandbagged emplacement. They drop and crawl to the slit trench and run up to the emplacement. Several SOLDIERS man a M-60. One has a sniper rifle -- another tries to spot for the Gunner. Willard and Lance edge up along the trench. Willard trips. Willard looks down. They move ahead more carefully. The Gunner BLASTS away into the night, there is a pile of brass cases about three feet high next to him. Finally he stops swearing to himself. He turns and sees it's an officer. There is a low moaning SCREAM from out in the wire -- it stops for aminute then continues hideously. The Spotter does, it arcs up, then bathes them in eerie light. The Gunner FIRES a long BURST. They think about this as the flare goes out. The SCREAMING gets more intense. The Spotter moves down to where a tall lanky SOLDIER is leaned up against the trench. He kicks him hard several times. Roach wakes and just looks up. On his helmet are the words: "GOD BLESS DOW." He listens, he does, he are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. on about this business. On of the two tanned soldiers rushes up and whispers something to him. He stops. The soldier points to Lance, who immediately puts down the card he was holding. Kilgore strides over to the young man, who almost instinctively moves closer t Willard. Kilgore smiles -- sticks out his hand. Lance blushes, sort of mumbling thanks. Willard eats it, for now. Kilgore puts his hand on Lance's shoulder, and continues flipping the cards in- discriminately on the bodies as they talk. He passes a twisted gun emplacement with about five bodies -- sprinkles cards all over them. He stops at a particularly wild-looking Viet Cong who has died with his mouth agape -- staring wild-eyed in horror at the sky. Kilgore pauses. He puts the card in the gaping mouth. Everywhere we SEE armed men, sandbags, barbed wire, oil drums etc. Hueys are constantly ROARING over. ARTILLERY BOOMS in the far distance. Kilgore looks at the map. He puts his finger on the map. He motions to one of his surfers. Willard looks at Lance -- then at Kilgore. Kilgore gazes out across the parked helicopters. Willard nudges Lance -- who gets the idea. Kilgore turns and looks to Willard, exasperated. Kilgore's helicopter is being loaded with ammunition and has surfboards strapped underneath. He turns to his R.T. man. CLOSE SHOTS of the three surfboards strapped below the command helicopter, next to the fearsome weaponry. And finally, CLOSE SHOTS of the men -- nervous, excited very few of them really scared -- they fondle their rifles, grenade launchers, anti-personnel grenades, claymore mines; plastic explosives cord; flame-throwers; M-60 machine guns; expandable rocket launchers; mortars and bayonets. The helicopter banks into a tight turn and bears toward the coast. The whole copter shakes. Sampans are pulled into a | Who commands the navy PBR? | Chief |
are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. over. Then he throws the canteen to Willard. Lance stands up holding his M-16, looks into the cavern with Chef. Willard shoots himself in the arm with the morphine. Willard drinks more of the LSD water. Chef steps into the Headquarters -- he is terrified. He draws his bayonet. Chef rushes at Kurtz with his bayonet -- instinctively, Willard GUNS him -- then there is additional automatic FIRE. Chef is being riddled by bullets. Then hes tops -- Chef falls to the dirt -- there is an instant of silence, then: Another behind him is chanting the word NAPALM softly t himself. We SEE Lance; waiting, with his weapons -- garlands of teeth around his neck, his face painted. Willard looks through the infra-red sniper scope. Colby pushes a row of plungers: Advancing NVAs il- luminated by napalm drums, phosphorescent napalm EXPLODES beautiful, like a magnificent firework. The SOUND DISTORTED of tremendous HOWLING EXPLOSIONS penetrate the track of LIGHT MY FIRE one after another. Kurtz's face is illuminated by each of these. His face seems to change from one grotesgue primitive face to another, as though the whole history mankind is evolv- ing in front of us. The SCREAMS of maimed and dismembered men almost pene- trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's men LAUGHING and SCREAMING in delight. Kurtz looks out over the field of slaughter. Lance is caught in a CROSSFIRE and hit several times. He pulls himself up -- FIRES a final BURST and then falls under the enemy's feet. He turns and runs back through the compound with the receding Montagnards. SHELLS are EXPLODING everywhere. The light patterns are fantastic. Men fall, Viets break over the walls and charge. They crouch and rip into them FULL AUTOMATIC. They break the charge and continue cutting this group. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. I don't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M-16 to automatic, and it jammed. How much money did the contractors make on the M-16 ? Our VIEW IS MOVING through the people on the boat; some reading, flirting, drinking. I wouldn't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we cannot see his face. Willard looks back. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. He sits down at the table with the drinks. The JUKE BOX starts BLARING. Annoyed , Willard looks over his shoulder. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows. Armed men jump from the Huey -- among them Willard. A large camouflaged cover is moved, revealing an underground corridor -- they enter. The whole place has been hewn out of the ground itself and there is a sense of the cut-back jungle growth slowly reclaiming it. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out so that a 7.62 mini-gun that was mounted there sticks up above the sandbags. The emplacement is built on amound so the gun commands a clear field of fire into the jungle beyond. Some Americans, barely recognizible because of their beards and savage manner, sit near the gun. Several Montagnard children giggle at their feet and play with bayonets. Lance just stands there; his eyes vacant.. He sort of nods, sucking a joint. There are other indications of the modern headquarters this had been. Now all those things are no longer impor- tant. Kurtz sits alone, slumped back in a wicker chair. There is a large wooden planning table next to him, with maps, lamps and apile of debris that is practically garbage. There are native decorations to ward off evil spirits; and graffiti on the stone walls, things ranging fromm "Viet Nam, love it or leave it" to quotes of Nietzsche "Nothing is true -- everything is permitted." Moonby, who had been crouching in a corner, moves to Willard. Willard steps in closer. Kurtz looks to Moonby. Moonby hesitates -- not wanting to leave him alone with Willard. He rests back, grinning. Suddenly Kurtz is seized with a terrible pain from his stomach wound. He groans horribly, clutching at it. He literally falls from his chair onto the dirt floor. Willard leans over him; checking the seriousness of the wound. Willard moves to the table, opens the medical packet. He takes out a morphine capsule, leans over the writhing Kurtz and injects him with the drug. Willard quickly prepares another shot. Kurtz, truly frightened, holds up his hand. He rests back. The drug is beginning to take effect. He crawls in pain toward the canteen Willard watches him impassively. He drinks sloppily from the canteen, water spilling all chief, as well as his U.S.A. Colonel's insignia. He is feverish, with long blonde hair and beautiful features. His eyes almost hypnotize. His midsection is bandaged from what seems to be a serious wound. Moonby lights a joint, and passes it respectfully to Kurtz -- throughout the scene, the joint is passed from man to man, ritualistically. There is a clear, incredible intelligence about this man. There is a long pause, as the two men regard each other. Then Willard reaches to his holstered .45 -- withdraws it, and places it on the dirt before Kurtz, as an act assuring Kurtz that he is not an assasin. Kurtz reaches down; takes the .45 -- and without another word or gesture, shoots and kills a man. He throws the .45 back on the dirt. Rises, and walks back into the cavernous headquarters behind the shrunken heads. Moonby scampers off after him, a respectful distance behind. Even Willard is stunned. Lance sleeps by the fire, a little distance away. Chef approaches, crouches down. Lance stirs; starts to wake up. Willard rises. Chef looks at him, confused and frightened. Wild looking savages man these guns, and seem to bow to Willard as he passes. A woman tentatively moves to Willard, bowing, and then runs off to her bunker. WE ARE TRACKING with them as they move past the groups of people, huddled by their fires... men, women and children. Skulls, shrunken and otherwise hang from every hut -- adorn every sandbagged bunker -- dried scalps hang from barbed wire. A child is chewing on a big piece of almost raw meat. They continue past amount where the shattered wreck of half a helicopter is laying. It has been altered and fortified with sandbags and concertina wire. The wreck lays on its side | What common interest do Lieutenant Colonel Bill Kilgore and Lance share? | Surfing |
their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. chief, as well as his U.S.A. Colonel's insignia. He is feverish, with long blonde hair and beautiful features. His eyes almost hypnotize. His midsection is bandaged from what seems to be a serious wound. Moonby lights a joint, and passes it respectfully to Kurtz -- throughout the scene, the joint is passed from man to man, ritualistically. There is a clear, incredible intelligence about this man. There is a long pause, as the two men regard each other. Then Willard reaches to his holstered .45 -- withdraws it, and places it on the dirt before Kurtz, as an act assuring Kurtz that he is not an assasin. Kurtz reaches down; takes the .45 -- and without another word or gesture, shoots and kills a man. He throws the .45 back on the dirt. Rises, and walks back into the cavernous headquarters behind the shrunken heads. Moonby scampers off after him, a respectful distance behind. Even Willard is stunned. Lance sleeps by the fire, a little distance away. Chef approaches, crouches down. Lance stirs; starts to wake up. Willard rises. Chef looks at him, confused and frightened. Wild looking savages man these guns, and seem to bow to Willard as he passes. A woman tentatively moves to Willard, bowing, and then runs off to her bunker. WE ARE TRACKING with them as they move past the groups of people, huddled by their fires... men, women and children. Skulls, shrunken and otherwise hang from every hut -- adorn every sandbagged bunker -- dried scalps hang from barbed wire. A child is chewing on a big piece of almost raw meat. They continue past amount where the shattered wreck of half a helicopter is laying. It has been altered and fortified with sandbags and concertina wire. The wreck lays on its side on about this business. On of the two tanned soldiers rushes up and whispers something to him. He stops. The soldier points to Lance, who immediately puts down the card he was holding. Kilgore strides over to the young man, who almost instinctively moves closer t Willard. Kilgore smiles -- sticks out his hand. Lance blushes, sort of mumbling thanks. Willard eats it, for now. Kilgore puts his hand on Lance's shoulder, and continues flipping the cards in- discriminately on the bodies as they talk. He passes a twisted gun emplacement with about five bodies -- sprinkles cards all over them. He stops at a particularly wild-looking Viet Cong who has died with his mouth agape -- staring wild-eyed in horror at the sky. Kilgore pauses. He puts the card in the gaping mouth. Everywhere we SEE armed men, sandbags, barbed wire, oil drums etc. Hueys are constantly ROARING over. ARTILLERY BOOMS in the far distance. Kilgore looks at the map. He puts his finger on the map. He motions to one of his surfers. Willard looks at Lance -- then at Kilgore. Kilgore gazes out across the parked helicopters. Willard nudges Lance -- who gets the idea. Kilgore turns and looks to Willard, exasperated. Kilgore's helicopter is being loaded with ammunition and has surfboards strapped underneath. He turns to his R.T. man. CLOSE SHOTS of the three surfboards strapped below the command helicopter, next to the fearsome weaponry. And finally, CLOSE SHOTS of the men -- nervous, excited very few of them really scared -- they fondle their rifles, grenade launchers, anti-personnel grenades, claymore mines; plastic explosives cord; flame-throwers; M-60 machine guns; expandable rocket launchers; mortars and bayonets. The helicopter banks into a tight turn and bears toward the coast. The whole copter shakes. Sampans are pulled into a over. Then he throws the canteen to Willard. Lance stands up holding his M-16, looks into the cavern with Chef. Willard shoots himself in the arm with the morphine. Willard drinks more of the LSD water. Chef steps into the Headquarters -- he is terrified. He draws his bayonet. Chef rushes at Kurtz with his bayonet -- instinctively, Willard GUNS him -- then there is additional automatic FIRE. Chef is being riddled by bullets. Then hes tops -- Chef falls to the dirt -- there is an instant of silence, then: Another behind him is chanting the word NAPALM softly t himself. We SEE Lance; waiting, with his weapons -- garlands of teeth around his neck, his face painted. Willard looks through the infra-red sniper scope. Colby pushes a row of plungers: Advancing NVAs il- luminated by napalm drums, phosphorescent napalm EXPLODES beautiful, like a magnificent firework. The SOUND DISTORTED of tremendous HOWLING EXPLOSIONS penetrate the track of LIGHT MY FIRE one after another. Kurtz's face is illuminated by each of these. His face seems to change from one grotesgue primitive face to another, as though the whole history mankind is evolv- ing in front of us. The SCREAMS of maimed and dismembered men almost pene- trates the INCREDIBLY LOUD MUSIC and we HEAR Kurtz's men LAUGHING and SCREAMING in delight. Kurtz looks out over the field of slaughter. Lance is caught in a CROSSFIRE and hit several times. He pulls himself up -- FIRES a final BURST and then falls under the enemy's feet. He turns and runs back through the compound with the receding Montagnards. SHELLS are EXPLODING everywhere. The light patterns are fantastic. Men fall, Viets break over the walls and charge. They crouch and rip into them FULL AUTOMATIC. They break the charge and continue cutting | What time during the day does the helicopter raid at the coastal mouth of the river commence? | At dawn. |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, TO REVEAL a small village of huts along the bank. The river widens and the trees at its edge are soft and seductive. The hills beyond are purple and lush. Strange orange colored water-fowl swim lazily out of their way. The water itself is glass smooth and black as if there were no bottom. The sun is warm and the breeze gentle and laced with wild gardenians. It is indeed the most peaceful valley in all the world and each man looks upon it and has never known such a sense of peace and well- being. Each man in his heart feels a need to stay -- his soul cries to stop -- stop their madness -- this spiral into hell. Here is all that can be had of earth. But no hand moves. The boat drifts on its own toward a hole at the end of the clearing. A hole into the jungle from which a darkness permeats. The boat follows the river into this hole. Lance's TWIN FIFTIES split the silence as they POUR into the skulls on the opposite bank -- Suddenly there is a tremendous EXPLOSION and SECONDARY ONES from the jungle as shrapnel rips into the jungle and water from CLAYMORE MINES obviously set to cover the mound of skulls. The smoke clears. There is silence. Willard motions -- the Chief accelerates -- they move ahead past the smoking mound. The boat disappears in the thick fog. The P.B.R. moves toard the right-most channel. Chef takes a long pole and begins sounding depth. Suddenly Chef lays out flat on the bow. Hundreds and hundreds of slender sticks fly onto the P.B.R. rattling against the boat. But Chief seems out of control -- he lets the clip of his M-16 go. Then slowly lets the rifle | Who was sent on a similar mission to that of Willard six months before him? | SOG operative Captain Colby |
their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. exits f.g. The SHOE CLANGS off his helmet. The Soldier ducks back and runs away. Other men approach the boat. A young LIEUTENANT steps forward. He hands up a plastic bag, maximum security markings, Willard takes it. He points to the men getting ready to work. He turns and splashes off into the darkness. SHELLS WHISTLE OVER and CRASH into the bridge -- MEN SCREAM in the distance -- the EXPLOSIONS are thunderous. Willard climbs out with Lance. Willard nods and they scurry off the bank under the bridge. They dive towards the voice. The Soldier doesn't respond. There is an apparent lull and they dash out along the road. Suddenly to their right an M-60 STARTS OPENING UP from a sandbagged emplacement. They drop and crawl to the slit trench and run up to the emplacement. Several SOLDIERS man a M-60. One has a sniper rifle -- another tries to spot for the Gunner. Willard and Lance edge up along the trench. Willard trips. Willard looks down. They move ahead more carefully. The Gunner BLASTS away into the night, there is a pile of brass cases about three feet high next to him. Finally he stops swearing to himself. He turns and sees it's an officer. There is a low moaning SCREAM from out in the wire -- it stops for aminute then continues hideously. The Spotter does, it arcs up, then bathes them in eerie light. The Gunner FIRES a long BURST. They think about this as the flare goes out. The SCREAMING gets more intense. The Spotter moves down to where a tall lanky SOLDIER is leaned up against the trench. He kicks him hard several times. Roach wakes and just looks up. On his helmet are the words: "GOD BLESS DOW." He listens, he does, he turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN | How does Willard kill the Chief? | He suffocates him. |
are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. this group. Gradually, Charlie's voice softens as we MOVE AWAY, and a NEW VOICE, the voice of someone thinking, COMES IN OVER it : The VIEW MOVE ALONG the guests of this small party : Pictures being taken, some people are swimming. It is the good life. Now WILLARD'S VOICE TRACK DOMINATES. I don't like automatic weapons. They jam. I saw a friend of mine get ripped open because he flicked his M-16 to automatic, and it jammed. How much money did the contractors make on the M-16 ? Our VIEW IS MOVING through the people on the boat; some reading, flirting, drinking. I wouldn't've believed it if someone'd told me. We are now RESTING on his back. Occasionally, he sips from a beer, but we cannot see his face. Willard looks back. An INFANTRY CAPTAIN enters the bar, buys a couple of drinks and approaches Willard's table. He sits down at the table with the drinks. The JUKE BOX starts BLARING. Annoyed , Willard looks over his shoulder. Willard glances over his shoulder and indicates the Civilian. The Civilian is given a sign by the Captain. He rises and comes over to the bar. Willard looks at the Civilian a moment, and then walks roght out toward the jeep without saying another word. The Civilian follows. Armed men jump from the Huey -- among them Willard. A large camouflaged cover is moved, revealing an underground corridor -- they enter. The whole place has been hewn out of the ground itself and there is a sense of the cut-back jungle growth slowly reclaiming it. Willard sits in a chair that is set in a center of a bare concrete floor. Across from him, around steel desks and tables sit several men. The nearest one, a COLONEL puts his cigar out on about this business. On of the two tanned soldiers rushes up and whispers something to him. He stops. The soldier points to Lance, who immediately puts down the card he was holding. Kilgore strides over to the young man, who almost instinctively moves closer t Willard. Kilgore smiles -- sticks out his hand. Lance blushes, sort of mumbling thanks. Willard eats it, for now. Kilgore puts his hand on Lance's shoulder, and continues flipping the cards in- discriminately on the bodies as they talk. He passes a twisted gun emplacement with about five bodies -- sprinkles cards all over them. He stops at a particularly wild-looking Viet Cong who has died with his mouth agape -- staring wild-eyed in horror at the sky. Kilgore pauses. He puts the card in the gaping mouth. Everywhere we SEE armed men, sandbags, barbed wire, oil drums etc. Hueys are constantly ROARING over. ARTILLERY BOOMS in the far distance. Kilgore looks at the map. He puts his finger on the map. He motions to one of his surfers. Willard looks at Lance -- then at Kilgore. Kilgore gazes out across the parked helicopters. Willard nudges Lance -- who gets the idea. Kilgore turns and looks to Willard, exasperated. Kilgore's helicopter is being loaded with ammunition and has surfboards strapped underneath. He turns to his R.T. man. CLOSE SHOTS of the three surfboards strapped below the command helicopter, next to the fearsome weaponry. And finally, CLOSE SHOTS of the men -- nervous, excited very few of them really scared -- they fondle their rifles, grenade launchers, anti-personnel grenades, claymore mines; plastic explosives cord; flame-throwers; M-60 machine guns; expandable rocket launchers; mortars and bayonets. The helicopter banks into a tight turn and bears toward the coast. The whole copter shakes. Sampans are pulled into a their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his chief, as well as his U.S.A. Colonel's insignia. He is feverish, with long blonde hair and beautiful features. His eyes almost hypnotize. His midsection is bandaged from what seems to be a serious wound. Moonby lights a joint, and passes it respectfully to Kurtz -- throughout the scene, the joint is passed from man to man, ritualistically. There is a clear, incredible intelligence about this man. There is a long pause, as the two men regard each other. Then Willard reaches to his holstered .45 -- withdraws it, and places it on the dirt before Kurtz, as an act assuring Kurtz that he is not an assasin. Kurtz reaches down; takes the .45 -- and without another word or gesture, shoots and kills a man. He throws the .45 back on the dirt. Rises, and walks back into the cavernous headquarters behind the shrunken heads. Moonby scampers off after him, a respectful distance behind. Even Willard is stunned. Lance sleeps by the fire, a little distance away. Chef approaches, crouches down. Lance stirs; starts to wake up. Willard rises. Chef looks at him, confused and frightened. Wild looking savages man these guns, and seem to bow to Willard as he passes. A woman tentatively moves to Willard, bowing, and then runs off to her bunker. WE ARE TRACKING with them as they move past the groups of people, huddled by their fires... men, women and children. Skulls, shrunken and otherwise hang from every hut -- adorn every sandbagged bunker -- dried scalps hang from barbed wire. A child is chewing on a big piece of almost raw meat. They continue past amount where the shattered wreck of half a helicopter is laying. It has been altered and fortified with sandbags and concertina wire. The wreck lays on its side | Who meets the surviving crew members of PBR when they arrive at Kurtz's outpost? | An American freelance photojournalist. |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his | What order does Willard leave for Chef in case they do not return? | Call for an airstrike |
On the opposite rim, sit two men and a woman with machine guns. Gaston strides up and looks down at the crater with pride. Gaston stands in serious admiration for this feat; Willard looks between him and this big hole in the ground in amezement. He pushes him forward into the water. The dirt and caked mud go swirling off his face and shoulders, and he relaxes as though he suddenly remenbers what a shower is. Willard sits in a comfortable chair in the corner of the room, looking out over the carpet, the bed with its elegant spread; the wash basin; the bidet. His battle dress is black with muck, with bloodstaines and burns. He rises from the chair and steps to a dresser above which is a large mirror. There is an album on the marble top of the dresser. He turns to a page at random. He turns the page, The plantation being built. Pictures of the framing, skeletal against the sky and jungle. Opposite the table, sitting next to the Chief, Lance reaches hungrily for bread and other food with his hands. And then he looks to his friends for approval. Our VIEW REVEALS that behind a transparent silk curtain there is another, more elaborate table, where the De Marais family is dining with Willard. Our VIEW MOVES through the curtain and settles in a MEDIUM VIEW of the group. The men rise as a very attractive woman enters the room. Willard finally does as well, and she moves to the chair next to him. She sits -- there's an uneasy silence. Willard is caught with this exotic woman on one side of him, and the ongoing conversation on the other. He is forced to face toward Gaston, and drawn to look at Roxanne. Philippe Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his | What happens to the chef at the end? | He is beheaded. |
Sell the car Sell the kids Find someone else Forget it I'm never coming back Forget it -- He folds up the letter. He turns and walks off babbling incoherently -- The soldier he was talking to turns around smiling idiotically and making animal noises. He stumbles off after his friend. Willard turns around looking for where the voice came from. He turns to see the Hollywood Agent under the flap of a large tent so that he won't get wet. He wears the same clothes as before, but is much dirtier. He motions Willard into the tent. On cots around astove sit the three playmates and the pilot. The nearest one, CATHY, a blonde, picks leeches out of her feet. The other two, TERRI and LYNDA, play cards with the helicopter pilot. Willard looks over the situation. They all look over. He turns and starts to leave. Willard is almost out of the tent. He turns around. The Pilot laughs. Willard just stares at her -- even though she's in jeans and field jacket she is something to see -- The Agent takes Willard aside -- Terri goes back to the others. Willard turns to leave again. Willard sits down on a metal chair -- motions the Agent to do likewise. The girls are trying to pretend they're not listening -- the helicopter Pilot is cackling to himself. Willard gets up. He gets up and starts out. Willard turns around slowly. He turns to go under the tent flap. Willard walks through them down to the boat. They all look up. She lies down on the cot in only her panties. He leaves -- she pulls herself up and starts combing her hair -- Mr. Clean walks in. She picks up a shoe to throw at him. he turns, their way through the NVA masses like torches through metal. Kurtz sees a group of Viets and rushes up and prepares a machine gun mount. They don't see him. He braces the gun at his side and steps out. They stagger and fall, shattered and bleeding, save one who's merely lost his weapon. Kurtz looks at him, his gun empty. He drops it and flips open the flap of his holster. The Viet soldier goes for his pistol. Kurtz beats him to the draw and bloes him into the night. He moves over to pick up the NVA light machine gun. Holding it at his hip, he stands atop one of the ruined walls and FIRES into the masses. His native men see him and rush for the chance to die beside him. They are quickly encircled by onrushing Viets and are being overrun. The machine gun jams and Kurtz grabs a rifle. When it's empty and the bayonet is off he wields it as a club. The wall Kurtz was standing on, and he falls with it. Willard sees this and makes his way toward him as the air strike continues. All around us is a spectacle of MUSIC and light and fire and overwhelming color. Willard slings Kurtz's bleeding body around his neck, holding his hand, dragging hom through the jungle. The spectacle continues in the b.g. Their eyes are red and glazed, their jaws hang slack and they tumble occasionally. They stagger away from the field of slaughter. Willard looks down and sees something. Moves over to it, kicks several bodies away and in the f.g. below is Lance, dead. Colby stumbles over. Willard holds Lance up by his hair. Willard looks down at him. Kurtz looks up at him, past him with fury, longing in his are ripped and ragged around the mount. The boat is a floating wreck. Clean's body is being prepared in a plastic sack by Chief. All of the men are silent. Chef comes up from below; he has been wounded in the shoulder. Chief has been silent by the body of Clean in a plastic sack. Chief pushes Clean's body into the river. They all look over. They duck as SHOTS RING OUT from the dock, stitching the water across the P.B.R.'s bow. The crew crouches, guns trained on the dock as the boat still approaches. Another BURST, closer. Willard stares at the dock and building, trying to figure it out. Chief hands the loud-hailer to Chef, who shrugs and shouts: There is silence as the boat drifts closer. Then: Philippe moves to another position -- Kac grabs the rope from the deck and ties it to the dock. Gaston looks at the skyward pointed twin fifties admiringly. He puts down his gun -- the others do likewise -- Then he motions to the trees. A young man in a tiger suit and three women come forward from different positions -- all wear bush clothing and bear weapons. Willard's men look at one another, dazed. Willard steps off -- then stops, reaches back and picks up his M-16 by the stock. The men are relieved. They pick up their weapons and follow. They look at each other a moment. The Chief shrugs and follows. He indicates that the men should follow Philippe. The Chief is hesitant. Philippe leads them on, muttering. Willard follows -- they walk over past the house and toward the jungle, approaching a huge crater, 100 feet across and about thirty feet deep. The bottom is filled with water and young French and Vietnamese children swim in it. turns around, points to an elaborately scripted wooden plaque with various tallies on it. He gets up, and leaves abruptely -- followed by his wife. There is a pause. Gaston rises, and takes Roxanne's hand. Gaston leaves. Willard and Roxanne are left alone. The servants clear the table. She walks out of the room. She reaches out to him; indicating that he sit. A long pause. Then she looks at the cognac she poured for him. She takes a sip. Willard moves to the French doors, which have been left partly open to let a breeze in. He steps onto a terrace overlooking the river. In fact, we REALIZE that he is checking the boat. She moves her body close to his; and, in a moment, he is kissing her. He puts down his gun and strips off his shirt. She lays down on the bed and watches him. He moves to her, slipping into the bed. M-16 is leaning against the wall in his reach. Without a sound, he comes out to the terrace, and scales down the wall of the old building, disappearing into the darkness. He starts to get up. He stops -- seemingly stunned. She turns to go. Gaston is standing with Philippe, who are covering the Chief and crew with M-16's. He pauses for a second. The Chief spits in the water disgustedly and starts the engines. Willard looks hard at Gaston. Willard just smiles at the Chief. he leans over and pulls up a floorboard -- the men stare in amezement; it contains the contents of all those ammo boxes. .50 calibre; clips; grenades. He lets the board drop. Willard moves to the back of the boat. Willard looks out ahead and points. They all turn their guns in that direction. We PAN exits f.g. The SHOE CLANGS off his helmet. The Soldier ducks back and runs away. Other men approach the boat. A young LIEUTENANT steps forward. He hands up a plastic bag, maximum security markings, Willard takes it. He points to the men getting ready to work. He turns and splashes off into the darkness. SHELLS WHISTLE OVER and CRASH into the bridge -- MEN SCREAM in the distance -- the EXPLOSIONS are thunderous. Willard climbs out with Lance. Willard nods and they scurry off the bank under the bridge. They dive towards the voice. The Soldier doesn't respond. There is an apparent lull and they dash out along the road. Suddenly to their right an M-60 STARTS OPENING UP from a sandbagged emplacement. They drop and crawl to the slit trench and run up to the emplacement. Several SOLDIERS man a M-60. One has a sniper rifle -- another tries to spot for the Gunner. Willard and Lance edge up along the trench. Willard trips. Willard looks down. They move ahead more carefully. The Gunner BLASTS away into the night, there is a pile of brass cases about three feet high next to him. Finally he stops swearing to himself. He turns and sees it's an officer. There is a low moaning SCREAM from out in the wire -- it stops for aminute then continues hideously. The Spotter does, it arcs up, then bathes them in eerie light. The Gunner FIRES a long BURST. They think about this as the flare goes out. The SCREAMING gets more intense. The Spotter moves down to where a tall lanky SOLDIER is leaned up against the trench. He kicks him hard several times. Roach wakes and just looks up. On his helmet are the words: "GOD BLESS DOW." He listens, he does, he | What does Willard use to kill Kurtz? | Machete |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. to his running back as he yells something like "Blue 31!" It comes out in bubbles He cocks his left leg and his wide receiver goes in motion. Then on the "snap" he turns and starts a five step drop. He moves in slow motion because hey... he's underwater! He executes a perfect play action fake on the third step of his drop, and looks "down field" for his receivers. But there's a blitz! He steps up in the pocket but a linebacker's arm almost takes his head off. He dodges, he bobs, he weaves in a kind of delicate ballet. He rolls left and keeps looking for the open man. Suddenly he points down field, pulls up and cocks his arm. The "ball" comes behind his ear and snaps forward in a perfect release. <b> </b> The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. He looks near tears. The girls are led by pretty ANNABELLE FARRELL, a bundle of manic energy inside a body from heaven. The huddle breaks and Martel sets up over the center. The ball is snapped and Martel drops back. He looks for a receiver and doesn't see anybody. He steps enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest | When does Martel scold his teammates? | When he makes a mistake. |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over football pants and then has to deal with the cup, etc. Next to him, at another urinal, is WALTER COCHRAN, a big, serious bornagain tackle. As he pisses, Walter has his Bible propped open behind the flush handle so he won't miss a minute of scripture. Shane nods. Walter pees for a beat. By now Shane is pissing too. Walter takes his hand off his whizzing member and holds it out to Shane. Shane looks at Walter's hand for a long time, <b> </b>but finally, he removes his own guiding hand and clasps Walter's hand tentatively. A barbecue is in progress for the new Washington Redskins at the beautiful home of Coach McGinty. The huge back yard features a pool and a catered buffet/barbecue. Andre and Jamal are loading down their plates. Mickey Lee is gnawing on a two-foot slab of ribs. Lou Pacifico has a little three card monty going at a picnic table. Wilkinson is smiling but he looks dangerous. Shane is standing alone in a large hallway looking at an enormous trophy case stuffed with the spoils of football. Shane turns and sees her. She's as fetching as ever. Shane has to actually smile at this. Shane is totally taken off guard by this woman. Shane waves uncertainly and walks away. The Judge (now with his jacket off) and Wilkinson are lined up across from each other in a three-point stance in something called a man maker drill. The entire team forms two lanes on either side of them, as they face off. The idea is to knock the other guy down and get by him. Someone says hut! And Wilkinson slams into the Republican 16th Circuit Court Judge and knocks him head over heels. The Judge lands on his back, wham! a lot of tools: a quick release. Fast. A scrambler by nature. Good downfield vision. But you got hurt a lot. And worst of all, you never could win the big game. What did you lose the Sugar Bowl by, your senior year? What, forty points? McGINTY A scrambling quarterback is gonna do real well in this new replacement environment. And to tell you the truth, I think I can help you with your biggest problem. McGINTY Courage. I think that Sugar Bowl took it all out of you. There's a beat as Shane looks away. McGINTY Yeah, and it looks like things have been going really well for you since. Shane doesn't meet McGinty's eyes. McGINTY Yeah. No screaming crowds, that's for sure. (pause) You know what separates the winners from the losers? Gettin' back on the horse. The one that kicked you in the teeth. You're still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends? Shane keeps staring out at the water. McGINTY You want me to tell you you're not going to get hurt? You know you will. No doubt about that. But, hell... He leans against the wall of a liquor store. Lou writes quickly on a small pad. After a beat, another passerby leans in and whispers something to Lou. Lou writes quickly again. People in the street are now starting to look up at this old woman screaming "Foreskins!" Louis quickly crosses the street to his apartment house. But at that moment, a soccer ball bounces toward him from where a group of kids are playing in an alley. Out of pure instinct, Lou gives it a mighty boot. We FOLLOW the arc of the ball as it sails DOWN the block. to his running back as he yells something like "Blue 31!" It comes out in bubbles He cocks his left leg and his wide receiver goes in motion. Then on the "snap" he turns and starts a five step drop. He moves in slow motion because hey... he's underwater! He executes a perfect play action fake on the third step of his drop, and looks "down field" for his receivers. But there's a blitz! He steps up in the pocket but a linebacker's arm almost takes his head off. He dodges, he bobs, he weaves in a kind of delicate ballet. He rolls left and keeps looking for the open man. Suddenly he points down field, pulls up and cocks his arm. The "ball" comes behind his ear and snaps forward in a perfect release. <b> </b> The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. He looks near tears. The girls are led by pretty ANNABELLE FARRELL, a bundle of manic energy inside a body from heaven. The huddle breaks and Martel sets up over the center. The ball is snapped and Martel drops back. He looks for a receiver and doesn't see anybody. He steps | Who does Falco kiss on national TV? | Annabelle. |
It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. a lot of tools: a quick release. Fast. A scrambler by nature. Good downfield vision. But you got hurt a lot. And worst of all, you never could win the big game. What did you lose the Sugar Bowl by, your senior year? What, forty points? McGINTY A scrambling quarterback is gonna do real well in this new replacement environment. And to tell you the truth, I think I can help you with your biggest problem. McGINTY Courage. I think that Sugar Bowl took it all out of you. There's a beat as Shane looks away. McGINTY Yeah, and it looks like things have been going really well for you since. Shane doesn't meet McGinty's eyes. McGINTY Yeah. No screaming crowds, that's for sure. (pause) You know what separates the winners from the losers? Gettin' back on the horse. The one that kicked you in the teeth. You're still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends? Shane keeps staring out at the water. McGINTY You want me to tell you you're not going to get hurt? You know you will. No doubt about that. But, hell... He leans against the wall of a liquor store. Lou writes quickly on a small pad. After a beat, another passerby leans in and whispers something to Lou. Lou writes quickly again. People in the street are now starting to look up at this old woman screaming "Foreskins!" Louis quickly crosses the street to his apartment house. But at that moment, a soccer ball bounces toward him from where a group of kids are playing in an alley. Out of pure instinct, Lou gives it a mighty boot. We FOLLOW the arc of the ball as it sails DOWN the block. football pants and then has to deal with the cup, etc. Next to him, at another urinal, is WALTER COCHRAN, a big, serious bornagain tackle. As he pisses, Walter has his Bible propped open behind the flush handle so he won't miss a minute of scripture. Shane nods. Walter pees for a beat. By now Shane is pissing too. Walter takes his hand off his whizzing member and holds it out to Shane. Shane looks at Walter's hand for a long time, <b> </b>but finally, he removes his own guiding hand and clasps Walter's hand tentatively. A barbecue is in progress for the new Washington Redskins at the beautiful home of Coach McGinty. The huge back yard features a pool and a catered buffet/barbecue. Andre and Jamal are loading down their plates. Mickey Lee is gnawing on a two-foot slab of ribs. Lou Pacifico has a little three card monty going at a picnic table. Wilkinson is smiling but he looks dangerous. Shane is standing alone in a large hallway looking at an enormous trophy case stuffed with the spoils of football. Shane turns and sees her. She's as fetching as ever. Shane has to actually smile at this. Shane is totally taken off guard by this woman. Shane waves uncertainly and walks away. The Judge (now with his jacket off) and Wilkinson are lined up across from each other in a three-point stance in something called a man maker drill. The entire team forms two lanes on either side of them, as they face off. The idea is to knock the other guy down and get by him. Someone says hut! And Wilkinson slams into the Republican 16th Circuit Court Judge and knocks him head over heels. The Judge lands on his back, wham! | Who was replaced by Falco? | Martel. |
It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest down his Bible. McGINTY No. No praying. That's the problem with professional sports today: too much god damn praying. Five hundred dollar fine to the first man I hear praying. McGinty turns and bums an egg from Mickey and walks to the middle of the locker room. He eats the egg as he turns slowly and takes in his players. McGINTY A lot of people are waiting for you to fall on your asses today. And guess what? You're going to. But I don't give a shit if you look funny out there. Or if you miss a block, or drop a pass, or trip over your own dick. This is professional. And the difference between professional and amateur, between playing for the Washington Redskins and Michigan State is simply... money. You are being paid to win. Not just to play. Not just to learn how to be good sports. Not for the alumni. You are being paid to win. I don't care how the fuck you do it. But I'm demanding it. Because those guys whose place you're taking have forgotten that simple fact. So, go win it. He walks away. The players get up and start <b> </b>moving. Annabelle and her fellow twenty cheerleaders are lined up on either side of the bobbing helmet, waiting for the players. Suddenly, a CANNON goes off with a stomach- resounding BOOM! Shane jumps. Bateman takes off at a dead run out of the tunnel and into the helmet. Girls fly left and right. One girl is knocked out of her shoes. The rest of the team walks unceremoniously out of the helmet and onto the field. The ball is placed on the twenty as Shane and the offense walk out onto the field. a lot of tools: a quick release. Fast. A scrambler by nature. Good downfield vision. But you got hurt a lot. And worst of all, you never could win the big game. What did you lose the Sugar Bowl by, your senior year? What, forty points? McGINTY A scrambling quarterback is gonna do real well in this new replacement environment. And to tell you the truth, I think I can help you with your biggest problem. McGINTY Courage. I think that Sugar Bowl took it all out of you. There's a beat as Shane looks away. McGINTY Yeah, and it looks like things have been going really well for you since. Shane doesn't meet McGinty's eyes. McGINTY Yeah. No screaming crowds, that's for sure. (pause) You know what separates the winners from the losers? Gettin' back on the horse. The one that kicked you in the teeth. You're still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends? Shane keeps staring out at the water. McGINTY You want me to tell you you're not going to get hurt? You know you will. No doubt about that. But, hell... He leans against the wall of a liquor store. Lou writes quickly on a small pad. After a beat, another passerby leans in and whispers something to Lou. Lou writes quickly again. People in the street are now starting to look up at this old woman screaming "Foreskins!" Louis quickly crosses the street to his apartment house. But at that moment, a soccer ball bounces toward him from where a group of kids are playing in an alley. Out of pure instinct, Lou gives it a mighty boot. We FOLLOW the arc of the ball as it sails DOWN the block. | What are the players' striking over? | Pay. |
It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. to his running back as he yells something like "Blue 31!" It comes out in bubbles He cocks his left leg and his wide receiver goes in motion. Then on the "snap" he turns and starts a five step drop. He moves in slow motion because hey... he's underwater! He executes a perfect play action fake on the third step of his drop, and looks "down field" for his receivers. But there's a blitz! He steps up in the pocket but a linebacker's arm almost takes his head off. He dodges, he bobs, he weaves in a kind of delicate ballet. He rolls left and keeps looking for the open man. Suddenly he points down field, pulls up and cocks his arm. The "ball" comes behind his ear and snaps forward in a perfect release. <b> </b> The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. He looks near tears. The girls are led by pretty ANNABELLE FARRELL, a bundle of manic energy inside a body from heaven. The huddle breaks and Martel sets up over the center. The ball is snapped and Martel drops back. He looks for a receiver and doesn't see anybody. He steps up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest literally rips the ball out of his hands as he goes down. He's leaning over a groggy Shane on the bench. McGINTY Don't shake your head at me. You are going back in there. You are gonna run the same god damn play, you are gonna throw the ball to Franklin again and this time, he's gonna score. He shoves them under Shane's nose. Shane is suddenly very awake. McGINTY You are the only one in this entire stadium who can do it. Do you understand me? You can do something no one else can do. So, start right here. Start living your destiny. Or give it up for good. Right here. Right now. Shane stares at him. Then he stands up, wobbles and puts on his helmet. Annabelle watches him closely. Nasty-looking linebackers and cornerbacks stare at him. Shane gets an idea. Lamont shifts again. Clifford goes in motion from his flanker position but then changes his mind and goes back the other way. Lamont and Clifford then bump into each other. <b> </b><b>ON PATRIOT DEFENSE </b> They are totally confused now as they try to adjust to the equally confused Redskins. He looks extremely pissed. He turns to hand the ball off to Lamont but Lamont is not there. Shane turns the other way and sees Lamont just standing there looking at him. Shane runs over to him and hands him the ball. Meanwhile, the Patriot defense is going the other direction. Lamont takes off. One cornerback is not taken in. The guy dives for Lamont's legs. We hear a CLANK as the cornerback's HELMET hits Lamont's industrial KNEE BRACE. The guy bounces off and Lamont trots into the end zone. Shane, meanwhile, is looking at McGinty on the sidelines. McGINTY (V.O.) (in Shane's helmet) what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. | Who did the Sentinel players taunt? | The replacement players. |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over I guess you saw something I didn't. <b> </b>Shane nods vigorously. McGINTY (V.O.) Don't try to bullshit me, pal. You didn't want it. Winners always want the ball with the game on the line. You know that. Shane looks down. McGINTY (V.O.) Alright. The play is... waggle right, drag hook. You understand? Shane catches the snap and pitches the ball out to Murray from his holding position. The Patriot right defensive end breaks through and reaches for Murray. The only person in his way is Shane, still kneeling in the holding position. Shane screams as the huge lineman trips over him and then falls on him. Murray sweeps around the right side and scores untouched. Everybody goes nuts. He just smiles. Shane manages a painful smile. Pacifico is smoking and talking non-stop to a group who hang on his every word. Andre is already passed out at a booth. Jamal supports one side of Andre so he doesn't fall over. Murray is signing to several fans who sign back. Clifford Franklin signs autographs. Earl Wilkinson, dressed to the nines, is dancing close and slow with a gorgeous woman. Shane is at the bar and he's not in good shape. He's got cuts and bruises visible and every time he moves he grimaces. The martinis are starting to help, however. He's talking to a stunning WOMAN IN RED. He finishes his martini and throws the olive over his shoulder. She signals to the bartender. Shane looks at her closely. They stop at a door. Shane fumbles for a key. She checks the hallway, takes the key from Shane and sticks it in the lock. Suddenly, Annabelle Farrell appears in the hallway. Crack! Annabelle punches her in the nose with a straight right hand. The girl bounces off the wall. Both girls this game. It's up to you. Here's your <b> </b> swan song, people. How are you gonna sing it? And with that he walks out. Everybody looks beaten and depressed. Shane looks terribly guilty. Shane can't look at him, but he nods. The paramedics roll him away. Shane slumps against the wall near tears. McGinty comes out of the locker room. He locks eyes with Shane for a beat. And then McGinty turns his back on him and walks away. <b> </b><b>INT. LOCKER ROOM - DAY </b> Everyone is quiet. Shane walks in. SID, the equipment manager, sees him and yells. He smacks Shane on his bad side and Shane grimaces. Everyone stares at Shane for a beat. Nobody says anything for a beat. Shane looks around the room at this beaten bunch. No one makes eye contact with him. Earl Wilkinson finally speaks up. Everybody turns to Shane. Shane turns to Sid. Sid helps Shane strip his jersey off. Everyone reacts to the bruises on Shane's side. He runs over to her. And with that, Shane takes her in his arms and kisses her deeply. The crowd on that side of the field reacts to the kiss with a "Wooooooo!" Shane gives him the finger. The crowd goes "Wooooo!" at that too. Martel doesn't think this is funny. Shane walks onto the field leaving a confused but happy Annabelle. He walks past Dallas defensive lineman Butler. Butler is too shocked for a comeback. We can see now that Wilkinson and Bateman are now part of the offense. They line up as receivers opposite defensive halfbacks. In fact, everyone but Shane is on the line of scrimmage, paired | Why does Falco not show up to the date with Annabelle? | He is depressed. |
It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> football pants and then has to deal with the cup, etc. Next to him, at another urinal, is WALTER COCHRAN, a big, serious bornagain tackle. As he pisses, Walter has his Bible propped open behind the flush handle so he won't miss a minute of scripture. Shane nods. Walter pees for a beat. By now Shane is pissing too. Walter takes his hand off his whizzing member and holds it out to Shane. Shane looks at Walter's hand for a long time, <b> </b>but finally, he removes his own guiding hand and clasps Walter's hand tentatively. A barbecue is in progress for the new Washington Redskins at the beautiful home of Coach McGinty. The huge back yard features a pool and a catered buffet/barbecue. Andre and Jamal are loading down their plates. Mickey Lee is gnawing on a two-foot slab of ribs. Lou Pacifico has a little three card monty going at a picnic table. Wilkinson is smiling but he looks dangerous. Shane is standing alone in a large hallway looking at an enormous trophy case stuffed with the spoils of football. Shane turns and sees her. She's as fetching as ever. Shane has to actually smile at this. Shane is totally taken off guard by this woman. Shane waves uncertainly and walks away. The Judge (now with his jacket off) and Wilkinson are lined up across from each other in a three-point stance in something called a man maker drill. The entire team forms two lanes on either side of them, as they face off. The idea is to knock the other guy down and get by him. Someone says hut! And Wilkinson slams into the Republican 16th Circuit Court Judge and knocks him head over heels. The Judge lands on his back, wham! up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest pros. And they've all got something... unique to bring to the game. We're gonna take these people and try to put together a winning team. And if nothing else, they should be fun to watch. McGinty looks up when he senses someone standing in the doorway. It's REESE EVANS, the veteran Redskin we saw standing on the sidelines with the clean uniform. McGINTY How you doin', Reese? McGinty nods to Pilachowski. The coach takes a marker and fills in "Evans" in the center circle. McGINTY Welcome to the new Washington Redskins. (to his coaches) Let's find Reese somebody to play with. After a beat, one of the Bikers looks up at the door. The other biker shakes his head, no. The one who asked the question walks over to the door and listens for a beat. Nothing. He turns to go back and suddenly the door disintegrates in front of a charging man wearing a "police" windbreaker. Bateman dives on two more Bikers, and <b> </b>viciously head-butts one of them. He stuffs the other's head into the meth mixture, pulls him out and clubs him with a big police blackjack, three quick times: Rap! Rap! Rap! The guy goes down like lead. Bateman looks around and spots a big BIKER cowering in a corner. The Biker is terrified. Bateman takes two stops toward the guy when suddenly three more COPS wearing windbreakers run in, out of breath. They look around at the unconscious Bikers. BEEP! BEEP! BEEP! Someone's BEEPER is going off. The three cops look at theirs. Nothing. The cowering Biker looks at his. Bateman pulls his beeper, studies it and looks puzzled. Clifford's hands are up as he waits to catch the bread which was tossed by his MANAGER at the back of the store. The loaf hits | Which players were arrested at the bar? | The replacement players. |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. literally rips the ball out of his hands as he goes down. He's leaning over a groggy Shane on the bench. McGINTY Don't shake your head at me. You are going back in there. You are gonna run the same god damn play, you are gonna throw the ball to Franklin again and this time, he's gonna score. He shoves them under Shane's nose. Shane is suddenly very awake. McGINTY You are the only one in this entire stadium who can do it. Do you understand me? You can do something no one else can do. So, start right here. Start living your destiny. Or give it up for good. Right here. Right now. Shane stares at him. Then he stands up, wobbles and puts on his helmet. Annabelle watches him closely. Nasty-looking linebackers and cornerbacks stare at him. Shane gets an idea. Lamont shifts again. Clifford goes in motion from his flanker position but then changes his mind and goes back the other way. Lamont and Clifford then bump into each other. <b> </b><b>ON PATRIOT DEFENSE </b> They are totally confused now as they try to adjust to the equally confused Redskins. He looks extremely pissed. He turns to hand the ball off to Lamont but Lamont is not there. Shane turns the other way and sees Lamont just standing there looking at him. Shane runs over to him and hands him the ball. Meanwhile, the Patriot defense is going the other direction. Lamont takes off. One cornerback is not taken in. The guy dives for Lamont's legs. We hear a CLANK as the cornerback's HELMET hits Lamont's industrial KNEE BRACE. The guy bounces off and Lamont trots into the end zone. Shane, meanwhile, is looking at McGinty on the sidelines. McGINTY (V.O.) (in Shane's helmet) to his running back as he yells something like "Blue 31!" It comes out in bubbles He cocks his left leg and his wide receiver goes in motion. Then on the "snap" he turns and starts a five step drop. He moves in slow motion because hey... he's underwater! He executes a perfect play action fake on the third step of his drop, and looks "down field" for his receivers. But there's a blitz! He steps up in the pocket but a linebacker's arm almost takes his head off. He dodges, he bobs, he weaves in a kind of delicate ballet. He rolls left and keeps looking for the open man. Suddenly he points down field, pulls up and cocks his arm. The "ball" comes behind his ear and snaps forward in a perfect release. <b> </b> The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. He looks near tears. The girls are led by pretty ANNABELLE FARRELL, a bundle of manic energy inside a body from heaven. The huddle breaks and Martel sets up over the center. The ball is snapped and Martel drops back. He looks for a receiver and doesn't see anybody. He steps up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest | Who was tackled right before the Sentinels' first game ended? | Cochran. |
enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. down his Bible. McGINTY No. No praying. That's the problem with professional sports today: too much god damn praying. Five hundred dollar fine to the first man I hear praying. McGinty turns and bums an egg from Mickey and walks to the middle of the locker room. He eats the egg as he turns slowly and takes in his players. McGINTY A lot of people are waiting for you to fall on your asses today. And guess what? You're going to. But I don't give a shit if you look funny out there. Or if you miss a block, or drop a pass, or trip over your own dick. This is professional. And the difference between professional and amateur, between playing for the Washington Redskins and Michigan State is simply... money. You are being paid to win. Not just to play. Not just to learn how to be good sports. Not for the alumni. You are being paid to win. I don't care how the fuck you do it. But I'm demanding it. Because those guys whose place you're taking have forgotten that simple fact. So, go win it. He walks away. The players get up and start <b> </b>moving. Annabelle and her fellow twenty cheerleaders are lined up on either side of the bobbing helmet, waiting for the players. Suddenly, a CANNON goes off with a stomach- resounding BOOM! Shane jumps. Bateman takes off at a dead run out of the tunnel and into the helmet. Girls fly left and right. One girl is knocked out of her shoes. The rest of the team walks unceremoniously out of the helmet and onto the field. The ball is placed on the twenty as Shane and the offense walk out onto the field. players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> a lot of tools: a quick release. Fast. A scrambler by nature. Good downfield vision. But you got hurt a lot. And worst of all, you never could win the big game. What did you lose the Sugar Bowl by, your senior year? What, forty points? McGINTY A scrambling quarterback is gonna do real well in this new replacement environment. And to tell you the truth, I think I can help you with your biggest problem. McGINTY Courage. I think that Sugar Bowl took it all out of you. There's a beat as Shane looks away. McGINTY Yeah, and it looks like things have been going really well for you since. Shane doesn't meet McGinty's eyes. McGINTY Yeah. No screaming crowds, that's for sure. (pause) You know what separates the winners from the losers? Gettin' back on the horse. The one that kicked you in the teeth. You're still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends? Shane keeps staring out at the water. McGINTY You want me to tell you you're not going to get hurt? You know you will. No doubt about that. But, hell... He leans against the wall of a liquor store. Lou writes quickly on a small pad. After a beat, another passerby leans in and whispers something to Lou. Lou writes quickly again. People in the street are now starting to look up at this old woman screaming "Foreskins!" Louis quickly crosses the street to his apartment house. But at that moment, a soccer ball bounces toward him from where a group of kids are playing in an alley. Out of pure instinct, Lou gives it a mighty boot. We FOLLOW the arc of the ball as it sails DOWN the block. | Why does McGinty tell the reporter that they will need "miles and miles of heart" to win the game? | To send Falco a message. |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. down his Bible. McGINTY No. No praying. That's the problem with professional sports today: too much god damn praying. Five hundred dollar fine to the first man I hear praying. McGinty turns and bums an egg from Mickey and walks to the middle of the locker room. He eats the egg as he turns slowly and takes in his players. McGINTY A lot of people are waiting for you to fall on your asses today. And guess what? You're going to. But I don't give a shit if you look funny out there. Or if you miss a block, or drop a pass, or trip over your own dick. This is professional. And the difference between professional and amateur, between playing for the Washington Redskins and Michigan State is simply... money. You are being paid to win. Not just to play. Not just to learn how to be good sports. Not for the alumni. You are being paid to win. I don't care how the fuck you do it. But I'm demanding it. Because those guys whose place you're taking have forgotten that simple fact. So, go win it. He walks away. The players get up and start <b> </b>moving. Annabelle and her fellow twenty cheerleaders are lined up on either side of the bobbing helmet, waiting for the players. Suddenly, a CANNON goes off with a stomach- resounding BOOM! Shane jumps. Bateman takes off at a dead run out of the tunnel and into the helmet. Girls fly left and right. One girl is knocked out of her shoes. The rest of the team walks unceremoniously out of the helmet and onto the field. The ball is placed on the twenty as Shane and the offense walk out onto the field. up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> | Why did Martel slide down instead of scoring a touchdown? | To avoid an injury. |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over a lot of tools: a quick release. Fast. A scrambler by nature. Good downfield vision. But you got hurt a lot. And worst of all, you never could win the big game. What did you lose the Sugar Bowl by, your senior year? What, forty points? McGINTY A scrambling quarterback is gonna do real well in this new replacement environment. And to tell you the truth, I think I can help you with your biggest problem. McGINTY Courage. I think that Sugar Bowl took it all out of you. There's a beat as Shane looks away. McGINTY Yeah, and it looks like things have been going really well for you since. Shane doesn't meet McGinty's eyes. McGINTY Yeah. No screaming crowds, that's for sure. (pause) You know what separates the winners from the losers? Gettin' back on the horse. The one that kicked you in the teeth. You're still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends? Shane keeps staring out at the water. McGINTY You want me to tell you you're not going to get hurt? You know you will. No doubt about that. But, hell... He leans against the wall of a liquor store. Lou writes quickly on a small pad. After a beat, another passerby leans in and whispers something to Lou. Lou writes quickly again. People in the street are now starting to look up at this old woman screaming "Foreskins!" Louis quickly crosses the street to his apartment house. But at that moment, a soccer ball bounces toward him from where a group of kids are playing in an alley. Out of pure instinct, Lou gives it a mighty boot. We FOLLOW the arc of the ball as it sails DOWN the block. players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> I guess you saw something I didn't. <b> </b>Shane nods vigorously. McGINTY (V.O.) Don't try to bullshit me, pal. You didn't want it. Winners always want the ball with the game on the line. You know that. Shane looks down. McGINTY (V.O.) Alright. The play is... waggle right, drag hook. You understand? Shane catches the snap and pitches the ball out to Murray from his holding position. The Patriot right defensive end breaks through and reaches for Murray. The only person in his way is Shane, still kneeling in the holding position. Shane screams as the huge lineman trips over him and then falls on him. Murray sweeps around the right side and scores untouched. Everybody goes nuts. He just smiles. Shane manages a painful smile. Pacifico is smoking and talking non-stop to a group who hang on his every word. Andre is already passed out at a booth. Jamal supports one side of Andre so he doesn't fall over. Murray is signing to several fans who sign back. Clifford Franklin signs autographs. Earl Wilkinson, dressed to the nines, is dancing close and slow with a gorgeous woman. Shane is at the bar and he's not in good shape. He's got cuts and bruises visible and every time he moves he grimaces. The martinis are starting to help, however. He's talking to a stunning WOMAN IN RED. He finishes his martini and throws the olive over his shoulder. She signals to the bartender. Shane looks at her closely. They stop at a door. Shane fumbles for a key. She checks the hallway, takes the key from Shane and sticks it in the lock. Suddenly, Annabelle Farrell appears in the hallway. Crack! Annabelle punches her in the nose with a straight right hand. The girl bounces off the wall. Both girls | What job was Falco doing at the beginning of this story? | Cleaning the bottom of people's boats. |
It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest to his running back as he yells something like "Blue 31!" It comes out in bubbles He cocks his left leg and his wide receiver goes in motion. Then on the "snap" he turns and starts a five step drop. He moves in slow motion because hey... he's underwater! He executes a perfect play action fake on the third step of his drop, and looks "down field" for his receivers. But there's a blitz! He steps up in the pocket but a linebacker's arm almost takes his head off. He dodges, he bobs, he weaves in a kind of delicate ballet. He rolls left and keeps looking for the open man. Suddenly he points down field, pulls up and cocks his arm. The "ball" comes behind his ear and snaps forward in a perfect release. <b> </b> The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. He looks near tears. The girls are led by pretty ANNABELLE FARRELL, a bundle of manic energy inside a body from heaven. The huddle breaks and Martel sets up over the center. The ball is snapped and Martel drops back. He looks for a receiver and doesn't see anybody. He steps a lot of tools: a quick release. Fast. A scrambler by nature. Good downfield vision. But you got hurt a lot. And worst of all, you never could win the big game. What did you lose the Sugar Bowl by, your senior year? What, forty points? McGINTY A scrambling quarterback is gonna do real well in this new replacement environment. And to tell you the truth, I think I can help you with your biggest problem. McGINTY Courage. I think that Sugar Bowl took it all out of you. There's a beat as Shane looks away. McGINTY Yeah, and it looks like things have been going really well for you since. Shane doesn't meet McGinty's eyes. McGINTY Yeah. No screaming crowds, that's for sure. (pause) You know what separates the winners from the losers? Gettin' back on the horse. The one that kicked you in the teeth. You're still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends? Shane keeps staring out at the water. McGINTY You want me to tell you you're not going to get hurt? You know you will. No doubt about that. But, hell... He leans against the wall of a liquor store. Lou writes quickly on a small pad. After a beat, another passerby leans in and whispers something to Lou. Lou writes quickly again. People in the street are now starting to look up at this old woman screaming "Foreskins!" Louis quickly crosses the street to his apartment house. But at that moment, a soccer ball bounces toward him from where a group of kids are playing in an alley. Out of pure instinct, Lou gives it a mighty boot. We FOLLOW the arc of the ball as it sails DOWN the block. | Why were the pro football players going on strike? | Because of a salary dispute. |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over literally rips the ball out of his hands as he goes down. He's leaning over a groggy Shane on the bench. McGINTY Don't shake your head at me. You are going back in there. You are gonna run the same god damn play, you are gonna throw the ball to Franklin again and this time, he's gonna score. He shoves them under Shane's nose. Shane is suddenly very awake. McGINTY You are the only one in this entire stadium who can do it. Do you understand me? You can do something no one else can do. So, start right here. Start living your destiny. Or give it up for good. Right here. Right now. Shane stares at him. Then he stands up, wobbles and puts on his helmet. Annabelle watches him closely. Nasty-looking linebackers and cornerbacks stare at him. Shane gets an idea. Lamont shifts again. Clifford goes in motion from his flanker position but then changes his mind and goes back the other way. Lamont and Clifford then bump into each other. <b> </b><b>ON PATRIOT DEFENSE </b> They are totally confused now as they try to adjust to the equally confused Redskins. He looks extremely pissed. He turns to hand the ball off to Lamont but Lamont is not there. Shane turns the other way and sees Lamont just standing there looking at him. Shane runs over to him and hands him the ball. Meanwhile, the Patriot defense is going the other direction. Lamont takes off. One cornerback is not taken in. The guy dives for Lamont's legs. We hear a CLANK as the cornerback's HELMET hits Lamont's industrial KNEE BRACE. The guy bounces off and Lamont trots into the end zone. Shane, meanwhile, is looking at McGinty on the sidelines. McGINTY (V.O.) (in Shane's helmet) players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> down his Bible. McGINTY No. No praying. That's the problem with professional sports today: too much god damn praying. Five hundred dollar fine to the first man I hear praying. McGinty turns and bums an egg from Mickey and walks to the middle of the locker room. He eats the egg as he turns slowly and takes in his players. McGINTY A lot of people are waiting for you to fall on your asses today. And guess what? You're going to. But I don't give a shit if you look funny out there. Or if you miss a block, or drop a pass, or trip over your own dick. This is professional. And the difference between professional and amateur, between playing for the Washington Redskins and Michigan State is simply... money. You are being paid to win. Not just to play. Not just to learn how to be good sports. Not for the alumni. You are being paid to win. I don't care how the fuck you do it. But I'm demanding it. Because those guys whose place you're taking have forgotten that simple fact. So, go win it. He walks away. The players get up and start <b> </b>moving. Annabelle and her fellow twenty cheerleaders are lined up on either side of the bobbing helmet, waiting for the players. Suddenly, a CANNON goes off with a stomach- resounding BOOM! Shane jumps. Bateman takes off at a dead run out of the tunnel and into the helmet. Girls fly left and right. One girl is knocked out of her shoes. The rest of the team walks unceremoniously out of the helmet and onto the field. The ball is placed on the twenty as Shane and the offense walk out onto the field. | Why had Jimmy McGinty been fired as coach? | He was in a fight with the team's star quarterback |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. a lot of tools: a quick release. Fast. A scrambler by nature. Good downfield vision. But you got hurt a lot. And worst of all, you never could win the big game. What did you lose the Sugar Bowl by, your senior year? What, forty points? McGINTY A scrambling quarterback is gonna do real well in this new replacement environment. And to tell you the truth, I think I can help you with your biggest problem. McGINTY Courage. I think that Sugar Bowl took it all out of you. There's a beat as Shane looks away. McGINTY Yeah, and it looks like things have been going really well for you since. Shane doesn't meet McGinty's eyes. McGINTY Yeah. No screaming crowds, that's for sure. (pause) You know what separates the winners from the losers? Gettin' back on the horse. The one that kicked you in the teeth. You're still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends? Shane keeps staring out at the water. McGINTY You want me to tell you you're not going to get hurt? You know you will. No doubt about that. But, hell... He leans against the wall of a liquor store. Lou writes quickly on a small pad. After a beat, another passerby leans in and whispers something to Lou. Lou writes quickly again. People in the street are now starting to look up at this old woman screaming "Foreskins!" Louis quickly crosses the street to his apartment house. But at that moment, a soccer ball bounces toward him from where a group of kids are playing in an alley. Out of pure instinct, Lou gives it a mighty boot. We FOLLOW the arc of the ball as it sails DOWN the block. literally rips the ball out of his hands as he goes down. He's leaning over a groggy Shane on the bench. McGINTY Don't shake your head at me. You are going back in there. You are gonna run the same god damn play, you are gonna throw the ball to Franklin again and this time, he's gonna score. He shoves them under Shane's nose. Shane is suddenly very awake. McGINTY You are the only one in this entire stadium who can do it. Do you understand me? You can do something no one else can do. So, start right here. Start living your destiny. Or give it up for good. Right here. Right now. Shane stares at him. Then he stands up, wobbles and puts on his helmet. Annabelle watches him closely. Nasty-looking linebackers and cornerbacks stare at him. Shane gets an idea. Lamont shifts again. Clifford goes in motion from his flanker position but then changes his mind and goes back the other way. Lamont and Clifford then bump into each other. <b> </b><b>ON PATRIOT DEFENSE </b> They are totally confused now as they try to adjust to the equally confused Redskins. He looks extremely pissed. He turns to hand the ball off to Lamont but Lamont is not there. Shane turns the other way and sees Lamont just standing there looking at him. Shane runs over to him and hands him the ball. Meanwhile, the Patriot defense is going the other direction. Lamont takes off. One cornerback is not taken in. The guy dives for Lamont's legs. We hear a CLANK as the cornerback's HELMET hits Lamont's industrial KNEE BRACE. The guy bounces off and Lamont trots into the end zone. Shane, meanwhile, is looking at McGinty on the sidelines. McGINTY (V.O.) (in Shane's helmet) up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> | Why did Falco change McGinty's play to a running play in the first game? | Falco got scared. |
It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest down his Bible. McGINTY No. No praying. That's the problem with professional sports today: too much god damn praying. Five hundred dollar fine to the first man I hear praying. McGinty turns and bums an egg from Mickey and walks to the middle of the locker room. He eats the egg as he turns slowly and takes in his players. McGINTY A lot of people are waiting for you to fall on your asses today. And guess what? You're going to. But I don't give a shit if you look funny out there. Or if you miss a block, or drop a pass, or trip over your own dick. This is professional. And the difference between professional and amateur, between playing for the Washington Redskins and Michigan State is simply... money. You are being paid to win. Not just to play. Not just to learn how to be good sports. Not for the alumni. You are being paid to win. I don't care how the fuck you do it. But I'm demanding it. Because those guys whose place you're taking have forgotten that simple fact. So, go win it. He walks away. The players get up and start <b> </b>moving. Annabelle and her fellow twenty cheerleaders are lined up on either side of the bobbing helmet, waiting for the players. Suddenly, a CANNON goes off with a stomach- resounding BOOM! Shane jumps. Bateman takes off at a dead run out of the tunnel and into the helmet. Girls fly left and right. One girl is knocked out of her shoes. The rest of the team walks unceremoniously out of the helmet and onto the field. The ball is placed on the twenty as Shane and the offense walk out onto the field. players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> | What happened to the replacement players at the bar? | They got into a fight with the regular players and were put in jail. |
enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. a lot of tools: a quick release. Fast. A scrambler by nature. Good downfield vision. But you got hurt a lot. And worst of all, you never could win the big game. What did you lose the Sugar Bowl by, your senior year? What, forty points? McGINTY A scrambling quarterback is gonna do real well in this new replacement environment. And to tell you the truth, I think I can help you with your biggest problem. McGINTY Courage. I think that Sugar Bowl took it all out of you. There's a beat as Shane looks away. McGINTY Yeah, and it looks like things have been going really well for you since. Shane doesn't meet McGinty's eyes. McGINTY Yeah. No screaming crowds, that's for sure. (pause) You know what separates the winners from the losers? Gettin' back on the horse. The one that kicked you in the teeth. You're still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends? Shane keeps staring out at the water. McGINTY You want me to tell you you're not going to get hurt? You know you will. No doubt about that. But, hell... He leans against the wall of a liquor store. Lou writes quickly on a small pad. After a beat, another passerby leans in and whispers something to Lou. Lou writes quickly again. People in the street are now starting to look up at this old woman screaming "Foreskins!" Louis quickly crosses the street to his apartment house. But at that moment, a soccer ball bounces toward him from where a group of kids are playing in an alley. Out of pure instinct, Lou gives it a mighty boot. We FOLLOW the arc of the ball as it sails DOWN the block. up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> | What did Falco say when he was told he was being replaced by Martel? | That it was best for the team and Martel is a better player than he is. |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over literally rips the ball out of his hands as he goes down. He's leaning over a groggy Shane on the bench. McGINTY Don't shake your head at me. You are going back in there. You are gonna run the same god damn play, you are gonna throw the ball to Franklin again and this time, he's gonna score. He shoves them under Shane's nose. Shane is suddenly very awake. McGINTY You are the only one in this entire stadium who can do it. Do you understand me? You can do something no one else can do. So, start right here. Start living your destiny. Or give it up for good. Right here. Right now. Shane stares at him. Then he stands up, wobbles and puts on his helmet. Annabelle watches him closely. Nasty-looking linebackers and cornerbacks stare at him. Shane gets an idea. Lamont shifts again. Clifford goes in motion from his flanker position but then changes his mind and goes back the other way. Lamont and Clifford then bump into each other. <b> </b><b>ON PATRIOT DEFENSE </b> They are totally confused now as they try to adjust to the equally confused Redskins. He looks extremely pissed. He turns to hand the ball off to Lamont but Lamont is not there. Shane turns the other way and sees Lamont just standing there looking at him. Shane runs over to him and hands him the ball. Meanwhile, the Patriot defense is going the other direction. Lamont takes off. One cornerback is not taken in. The guy dives for Lamont's legs. We hear a CLANK as the cornerback's HELMET hits Lamont's industrial KNEE BRACE. The guy bounces off and Lamont trots into the end zone. Shane, meanwhile, is looking at McGinty on the sidelines. McGINTY (V.O.) (in Shane's helmet) I guess you saw something I didn't. <b> </b>Shane nods vigorously. McGINTY (V.O.) Don't try to bullshit me, pal. You didn't want it. Winners always want the ball with the game on the line. You know that. Shane looks down. McGINTY (V.O.) Alright. The play is... waggle right, drag hook. You understand? Shane catches the snap and pitches the ball out to Murray from his holding position. The Patriot right defensive end breaks through and reaches for Murray. The only person in his way is Shane, still kneeling in the holding position. Shane screams as the huge lineman trips over him and then falls on him. Murray sweeps around the right side and scores untouched. Everybody goes nuts. He just smiles. Shane manages a painful smile. Pacifico is smoking and talking non-stop to a group who hang on his every word. Andre is already passed out at a booth. Jamal supports one side of Andre so he doesn't fall over. Murray is signing to several fans who sign back. Clifford Franklin signs autographs. Earl Wilkinson, dressed to the nines, is dancing close and slow with a gorgeous woman. Shane is at the bar and he's not in good shape. He's got cuts and bruises visible and every time he moves he grimaces. The martinis are starting to help, however. He's talking to a stunning WOMAN IN RED. He finishes his martini and throws the olive over his shoulder. She signals to the bartender. Shane looks at her closely. They stop at a door. Shane fumbles for a key. She checks the hallway, takes the key from Shane and sticks it in the lock. Suddenly, Annabelle Farrell appears in the hallway. Crack! Annabelle punches her in the nose with a straight right hand. The girl bounces off the wall. Both girls | What did McGinty tell Falco that he has? | He has heart and Martel doesn't. |
enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. pros. And they've all got something... unique to bring to the game. We're gonna take these people and try to put together a winning team. And if nothing else, they should be fun to watch. McGinty looks up when he senses someone standing in the doorway. It's REESE EVANS, the veteran Redskin we saw standing on the sidelines with the clean uniform. McGINTY How you doin', Reese? McGinty nods to Pilachowski. The coach takes a marker and fills in "Evans" in the center circle. McGINTY Welcome to the new Washington Redskins. (to his coaches) Let's find Reese somebody to play with. After a beat, one of the Bikers looks up at the door. The other biker shakes his head, no. The one who asked the question walks over to the door and listens for a beat. Nothing. He turns to go back and suddenly the door disintegrates in front of a charging man wearing a "police" windbreaker. Bateman dives on two more Bikers, and <b> </b>viciously head-butts one of them. He stuffs the other's head into the meth mixture, pulls him out and clubs him with a big police blackjack, three quick times: Rap! Rap! Rap! The guy goes down like lead. Bateman looks around and spots a big BIKER cowering in a corner. The Biker is terrified. Bateman takes two stops toward the guy when suddenly three more COPS wearing windbreakers run in, out of breath. They look around at the unconscious Bikers. BEEP! BEEP! BEEP! Someone's BEEPER is going off. The three cops look at theirs. Nothing. The cowering Biker looks at his. Bateman pulls his beeper, studies it and looks puzzled. Clifford's hands are up as he waits to catch the bread which was tossed by his MANAGER at the back of the store. The loaf hits literally rips the ball out of his hands as he goes down. He's leaning over a groggy Shane on the bench. McGINTY Don't shake your head at me. You are going back in there. You are gonna run the same god damn play, you are gonna throw the ball to Franklin again and this time, he's gonna score. He shoves them under Shane's nose. Shane is suddenly very awake. McGINTY You are the only one in this entire stadium who can do it. Do you understand me? You can do something no one else can do. So, start right here. Start living your destiny. Or give it up for good. Right here. Right now. Shane stares at him. Then he stands up, wobbles and puts on his helmet. Annabelle watches him closely. Nasty-looking linebackers and cornerbacks stare at him. Shane gets an idea. Lamont shifts again. Clifford goes in motion from his flanker position but then changes his mind and goes back the other way. Lamont and Clifford then bump into each other. <b> </b><b>ON PATRIOT DEFENSE </b> They are totally confused now as they try to adjust to the equally confused Redskins. He looks extremely pissed. He turns to hand the ball off to Lamont but Lamont is not there. Shane turns the other way and sees Lamont just standing there looking at him. Shane runs over to him and hands him the ball. Meanwhile, the Patriot defense is going the other direction. Lamont takes off. One cornerback is not taken in. The guy dives for Lamont's legs. We hear a CLANK as the cornerback's HELMET hits Lamont's industrial KNEE BRACE. The guy bounces off and Lamont trots into the end zone. Shane, meanwhile, is looking at McGinty on the sidelines. McGINTY (V.O.) (in Shane's helmet) to his running back as he yells something like "Blue 31!" It comes out in bubbles He cocks his left leg and his wide receiver goes in motion. Then on the "snap" he turns and starts a five step drop. He moves in slow motion because hey... he's underwater! He executes a perfect play action fake on the third step of his drop, and looks "down field" for his receivers. But there's a blitz! He steps up in the pocket but a linebacker's arm almost takes his head off. He dodges, he bobs, he weaves in a kind of delicate ballet. He rolls left and keeps looking for the open man. Suddenly he points down field, pulls up and cocks his arm. The "ball" comes behind his ear and snaps forward in a perfect release. <b> </b> The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. He looks near tears. The girls are led by pretty ANNABELLE FARRELL, a bundle of manic energy inside a body from heaven. The huddle breaks and Martel sets up over the center. The ball is snapped and Martel drops back. He looks for a receiver and doesn't see anybody. He steps | What did McGinty say on tv during the last game as a message to Falco? | That it would take "miles and miles of heart" for the team to win the game. |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over literally rips the ball out of his hands as he goes down. He's leaning over a groggy Shane on the bench. McGINTY Don't shake your head at me. You are going back in there. You are gonna run the same god damn play, you are gonna throw the ball to Franklin again and this time, he's gonna score. He shoves them under Shane's nose. Shane is suddenly very awake. McGINTY You are the only one in this entire stadium who can do it. Do you understand me? You can do something no one else can do. So, start right here. Start living your destiny. Or give it up for good. Right here. Right now. Shane stares at him. Then he stands up, wobbles and puts on his helmet. Annabelle watches him closely. Nasty-looking linebackers and cornerbacks stare at him. Shane gets an idea. Lamont shifts again. Clifford goes in motion from his flanker position but then changes his mind and goes back the other way. Lamont and Clifford then bump into each other. <b> </b><b>ON PATRIOT DEFENSE </b> They are totally confused now as they try to adjust to the equally confused Redskins. He looks extremely pissed. He turns to hand the ball off to Lamont but Lamont is not there. Shane turns the other way and sees Lamont just standing there looking at him. Shane runs over to him and hands him the ball. Meanwhile, the Patriot defense is going the other direction. Lamont takes off. One cornerback is not taken in. The guy dives for Lamont's legs. We hear a CLANK as the cornerback's HELMET hits Lamont's industrial KNEE BRACE. The guy bounces off and Lamont trots into the end zone. Shane, meanwhile, is looking at McGinty on the sidelines. McGINTY (V.O.) (in Shane's helmet) down his Bible. McGINTY No. No praying. That's the problem with professional sports today: too much god damn praying. Five hundred dollar fine to the first man I hear praying. McGinty turns and bums an egg from Mickey and walks to the middle of the locker room. He eats the egg as he turns slowly and takes in his players. McGINTY A lot of people are waiting for you to fall on your asses today. And guess what? You're going to. But I don't give a shit if you look funny out there. Or if you miss a block, or drop a pass, or trip over your own dick. This is professional. And the difference between professional and amateur, between playing for the Washington Redskins and Michigan State is simply... money. You are being paid to win. Not just to play. Not just to learn how to be good sports. Not for the alumni. You are being paid to win. I don't care how the fuck you do it. But I'm demanding it. Because those guys whose place you're taking have forgotten that simple fact. So, go win it. He walks away. The players get up and start <b> </b>moving. Annabelle and her fellow twenty cheerleaders are lined up on either side of the bobbing helmet, waiting for the players. Suddenly, a CANNON goes off with a stomach- resounding BOOM! Shane jumps. Bateman takes off at a dead run out of the tunnel and into the helmet. Girls fly left and right. One girl is knocked out of her shoes. The rest of the team walks unceremoniously out of the helmet and onto the field. The ball is placed on the twenty as Shane and the offense walk out onto the field. to his running back as he yells something like "Blue 31!" It comes out in bubbles He cocks his left leg and his wide receiver goes in motion. Then on the "snap" he turns and starts a five step drop. He moves in slow motion because hey... he's underwater! He executes a perfect play action fake on the third step of his drop, and looks "down field" for his receivers. But there's a blitz! He steps up in the pocket but a linebacker's arm almost takes his head off. He dodges, he bobs, he weaves in a kind of delicate ballet. He rolls left and keeps looking for the open man. Suddenly he points down field, pulls up and cocks his arm. The "ball" comes behind his ear and snaps forward in a perfect release. <b> </b> The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. He looks near tears. The girls are led by pretty ANNABELLE FARRELL, a bundle of manic energy inside a body from heaven. The huddle breaks and Martel sets up over the center. The ball is snapped and Martel drops back. He looks for a receiver and doesn't see anybody. He steps | Why couldn't the kicker kick the final field goal of the big game? | Because some men in the audience would take his pub. |
literally rips the ball out of his hands as he goes down. He's leaning over a groggy Shane on the bench. McGINTY Don't shake your head at me. You are going back in there. You are gonna run the same god damn play, you are gonna throw the ball to Franklin again and this time, he's gonna score. He shoves them under Shane's nose. Shane is suddenly very awake. McGINTY You are the only one in this entire stadium who can do it. Do you understand me? You can do something no one else can do. So, start right here. Start living your destiny. Or give it up for good. Right here. Right now. Shane stares at him. Then he stands up, wobbles and puts on his helmet. Annabelle watches him closely. Nasty-looking linebackers and cornerbacks stare at him. Shane gets an idea. Lamont shifts again. Clifford goes in motion from his flanker position but then changes his mind and goes back the other way. Lamont and Clifford then bump into each other. <b> </b><b>ON PATRIOT DEFENSE </b> They are totally confused now as they try to adjust to the equally confused Redskins. He looks extremely pissed. He turns to hand the ball off to Lamont but Lamont is not there. Shane turns the other way and sees Lamont just standing there looking at him. Shane runs over to him and hands him the ball. Meanwhile, the Patriot defense is going the other direction. Lamont takes off. One cornerback is not taken in. The guy dives for Lamont's legs. We hear a CLANK as the cornerback's HELMET hits Lamont's industrial KNEE BRACE. The guy bounces off and Lamont trots into the end zone. Shane, meanwhile, is looking at McGinty on the sidelines. McGINTY (V.O.) (in Shane's helmet) what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. | What happened to the replacement players after that big game? | They went back to their regular lives. |
football pants and then has to deal with the cup, etc. Next to him, at another urinal, is WALTER COCHRAN, a big, serious bornagain tackle. As he pisses, Walter has his Bible propped open behind the flush handle so he won't miss a minute of scripture. Shane nods. Walter pees for a beat. By now Shane is pissing too. Walter takes his hand off his whizzing member and holds it out to Shane. Shane looks at Walter's hand for a long time, <b> </b>but finally, he removes his own guiding hand and clasps Walter's hand tentatively. A barbecue is in progress for the new Washington Redskins at the beautiful home of Coach McGinty. The huge back yard features a pool and a catered buffet/barbecue. Andre and Jamal are loading down their plates. Mickey Lee is gnawing on a two-foot slab of ribs. Lou Pacifico has a little three card monty going at a picnic table. Wilkinson is smiling but he looks dangerous. Shane is standing alone in a large hallway looking at an enormous trophy case stuffed with the spoils of football. Shane turns and sees her. She's as fetching as ever. Shane has to actually smile at this. Shane is totally taken off guard by this woman. Shane waves uncertainly and walks away. The Judge (now with his jacket off) and Wilkinson are lined up across from each other in a three-point stance in something called a man maker drill. The entire team forms two lanes on either side of them, as they face off. The idea is to knock the other guy down and get by him. Someone says hut! And Wilkinson slams into the Republican 16th Circuit Court Judge and knocks him head over heels. The Judge lands on his back, wham! It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over down his Bible. McGINTY No. No praying. That's the problem with professional sports today: too much god damn praying. Five hundred dollar fine to the first man I hear praying. McGinty turns and bums an egg from Mickey and walks to the middle of the locker room. He eats the egg as he turns slowly and takes in his players. McGINTY A lot of people are waiting for you to fall on your asses today. And guess what? You're going to. But I don't give a shit if you look funny out there. Or if you miss a block, or drop a pass, or trip over your own dick. This is professional. And the difference between professional and amateur, between playing for the Washington Redskins and Michigan State is simply... money. You are being paid to win. Not just to play. Not just to learn how to be good sports. Not for the alumni. You are being paid to win. I don't care how the fuck you do it. But I'm demanding it. Because those guys whose place you're taking have forgotten that simple fact. So, go win it. He walks away. The players get up and start <b> </b>moving. Annabelle and her fellow twenty cheerleaders are lined up on either side of the bobbing helmet, waiting for the players. Suddenly, a CANNON goes off with a stomach- resounding BOOM! Shane jumps. Bateman takes off at a dead run out of the tunnel and into the helmet. Girls fly left and right. One girl is knocked out of her shoes. The rest of the team walks unceremoniously out of the helmet and onto the field. The ball is placed on the twenty as Shane and the offense walk out onto the field. | What university does Shane Falco play for? | Ohio State University. |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. down his Bible. McGINTY No. No praying. That's the problem with professional sports today: too much god damn praying. Five hundred dollar fine to the first man I hear praying. McGinty turns and bums an egg from Mickey and walks to the middle of the locker room. He eats the egg as he turns slowly and takes in his players. McGINTY A lot of people are waiting for you to fall on your asses today. And guess what? You're going to. But I don't give a shit if you look funny out there. Or if you miss a block, or drop a pass, or trip over your own dick. This is professional. And the difference between professional and amateur, between playing for the Washington Redskins and Michigan State is simply... money. You are being paid to win. Not just to play. Not just to learn how to be good sports. Not for the alumni. You are being paid to win. I don't care how the fuck you do it. But I'm demanding it. Because those guys whose place you're taking have forgotten that simple fact. So, go win it. He walks away. The players get up and start <b> </b>moving. Annabelle and her fellow twenty cheerleaders are lined up on either side of the bobbing helmet, waiting for the players. Suddenly, a CANNON goes off with a stomach- resounding BOOM! Shane jumps. Bateman takes off at a dead run out of the tunnel and into the helmet. Girls fly left and right. One girl is knocked out of her shoes. The rest of the team walks unceremoniously out of the helmet and onto the field. The ball is placed on the twenty as Shane and the offense walk out onto the field. to his running back as he yells something like "Blue 31!" It comes out in bubbles He cocks his left leg and his wide receiver goes in motion. Then on the "snap" he turns and starts a five step drop. He moves in slow motion because hey... he's underwater! He executes a perfect play action fake on the third step of his drop, and looks "down field" for his receivers. But there's a blitz! He steps up in the pocket but a linebacker's arm almost takes his head off. He dodges, he bobs, he weaves in a kind of delicate ballet. He rolls left and keeps looking for the open man. Suddenly he points down field, pulls up and cocks his arm. The "ball" comes behind his ear and snaps forward in a perfect release. <b> </b> The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. He looks near tears. The girls are led by pretty ANNABELLE FARRELL, a bundle of manic energy inside a body from heaven. The huddle breaks and Martel sets up over the center. The ball is snapped and Martel drops back. He looks for a receiver and doesn't see anybody. He steps up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest a lot of tools: a quick release. Fast. A scrambler by nature. Good downfield vision. But you got hurt a lot. And worst of all, you never could win the big game. What did you lose the Sugar Bowl by, your senior year? What, forty points? McGINTY A scrambling quarterback is gonna do real well in this new replacement environment. And to tell you the truth, I think I can help you with your biggest problem. McGINTY Courage. I think that Sugar Bowl took it all out of you. There's a beat as Shane looks away. McGINTY Yeah, and it looks like things have been going really well for you since. Shane doesn't meet McGinty's eyes. McGINTY Yeah. No screaming crowds, that's for sure. (pause) You know what separates the winners from the losers? Gettin' back on the horse. The one that kicked you in the teeth. You're still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends? Shane keeps staring out at the water. McGINTY You want me to tell you you're not going to get hurt? You know you will. No doubt about that. But, hell... He leans against the wall of a liquor store. Lou writes quickly on a small pad. After a beat, another passerby leans in and whispers something to Lou. Lou writes quickly again. People in the street are now starting to look up at this old woman screaming "Foreskins!" Louis quickly crosses the street to his apartment house. But at that moment, a soccer ball bounces toward him from where a group of kids are playing in an alley. Out of pure instinct, Lou gives it a mighty boot. We FOLLOW the arc of the ball as it sails DOWN the block. | What is written on the tropy finds? | Shane Falco, All American. |
It's deafening but Lindell smiles through it all. They break. Shane sets up in the shotgun. On the snap, Lee and Cochran double-team Morris. Morris slaps Cochran away like, well, a rag doll, and then confronts the Sumo master. He bumps stomachs with Lee. Lee flies through the air and lands on his ass. In order to get up, Morris puts one huge hand on Shane's helmet and pushes himself up. Shane moans as his face guard digs a four- inch hole in the turf. He's talking into his mike. McGINTY You want a time-out? That looks like it hurt. Shane gets up. He's got a huge piece of turf stuck in his face guard so that for a beat, we can't even see him. Then he pulls out the dirt and grass, and we see Shane really pissed off for the first time. Everyone gathers around. They break the huddle. Shane goes into a shotgun. Shane does a three-step drop from the shotgun. Cochran and Lee hit out on either side of Morris, giving him a clear shot at Shane. Morris comes hard and fast. Shane looks downfield, winds up, turns and fires the ball at Morris's head. The ball goes like a bullet for five feet and then sticks like a dart in Morris's face guard. For a moment, Morris is blinded. And Shane is dumbfounded. Then Morris starts to wrestle the ball out of his mask. Andre and Jamal grab onto Morris who starts stumbling down field with the ball still stuck in his helmet. But Morris won't go down. He's still trying to pry the ball loose as he throws off Jamal. Then he shakes off Andre. OUT OF THE SILENCE, we suddenly hear the hit and the crowd roar. up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over down his Bible. McGINTY No. No praying. That's the problem with professional sports today: too much god damn praying. Five hundred dollar fine to the first man I hear praying. McGinty turns and bums an egg from Mickey and walks to the middle of the locker room. He eats the egg as he turns slowly and takes in his players. McGINTY A lot of people are waiting for you to fall on your asses today. And guess what? You're going to. But I don't give a shit if you look funny out there. Or if you miss a block, or drop a pass, or trip over your own dick. This is professional. And the difference between professional and amateur, between playing for the Washington Redskins and Michigan State is simply... money. You are being paid to win. Not just to play. Not just to learn how to be good sports. Not for the alumni. You are being paid to win. I don't care how the fuck you do it. But I'm demanding it. Because those guys whose place you're taking have forgotten that simple fact. So, go win it. He walks away. The players get up and start <b> </b>moving. Annabelle and her fellow twenty cheerleaders are lined up on either side of the bobbing helmet, waiting for the players. Suddenly, a CANNON goes off with a stomach- resounding BOOM! Shane jumps. Bateman takes off at a dead run out of the tunnel and into the helmet. Girls fly left and right. One girl is knocked out of her shoes. The rest of the team walks unceremoniously out of the helmet and onto the field. The ball is placed on the twenty as Shane and the offense walk out onto the field. | Why are the players striking? | Salary Disputes. |
to his running back as he yells something like "Blue 31!" It comes out in bubbles He cocks his left leg and his wide receiver goes in motion. Then on the "snap" he turns and starts a five step drop. He moves in slow motion because hey... he's underwater! He executes a perfect play action fake on the third step of his drop, and looks "down field" for his receivers. But there's a blitz! He steps up in the pocket but a linebacker's arm almost takes his head off. He dodges, he bobs, he weaves in a kind of delicate ballet. He rolls left and keeps looking for the open man. Suddenly he points down field, pulls up and cocks his arm. The "ball" comes behind his ear and snaps forward in a perfect release. <b> </b> The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. He looks near tears. The girls are led by pretty ANNABELLE FARRELL, a bundle of manic energy inside a body from heaven. The huddle breaks and Martel sets up over the center. The ball is snapped and Martel drops back. He looks for a receiver and doesn't see anybody. He steps players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest He's out cold. Wilkinson slaps hands with Andre and Jamal. At one of the entrances, the striking Redskins are picketing. Jerome Lindell (NFL Players President) is still marching with them. A little boy stops one of the Redskins and asks for an autograph on a program. The <b> </b>player gives it to him and the kid walks away. Lindell runs after the kid, grabs the program and rips off the page the player signed. The kid retreats quickly. Lindell rips up the page. Reese Evans, his center, stops by. Shane nods and gives a nauseous-looking smile. Shane nods that he understands but he goes <b> </b>back to staring at a wall. Andre and Jamal sit facing each other. Andre throws a vicious forearm at Jamal's head but Jamal catches it. They both nod in approval. Lou Pacifico smokes and stares. Bateman is leaning against a wall, fully dressed, helmet on. He's staring into space and smiling to himself. He looks terrifying. Earl Wilkinson (the criminal) is polishing a beautiful pair of new alligator shoes. Clifford Franklin looks at himself in the mirror as he ceremoniously puts on his helmet. Walter Cochran is reading his Bible in front of his locker, which features a picture of Jesus and a cross. Mickey Lee (ex-sumo) is sitting in front of a bowl of hard boiled eggs. He's methodically popping them into his mouth. He eats four as we watch. Coach Pilachowski comes up to Lee and watches him eat. Like a hole in the head he needs the bulk. Coach McGinty comes strolling through the locker room, the picture of calm. He walks by defensive end/tight end Brian Murray and signs to him to have a good game. Murray signs back, "Thanks, Coach." Cochran spots McGinty and puts | Who is the owner of the Sentinels? | Edward O'Neil. |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. to his running back as he yells something like "Blue 31!" It comes out in bubbles He cocks his left leg and his wide receiver goes in motion. Then on the "snap" he turns and starts a five step drop. He moves in slow motion because hey... he's underwater! He executes a perfect play action fake on the third step of his drop, and looks "down field" for his receivers. But there's a blitz! He steps up in the pocket but a linebacker's arm almost takes his head off. He dodges, he bobs, he weaves in a kind of delicate ballet. He rolls left and keeps looking for the open man. Suddenly he points down field, pulls up and cocks his arm. The "ball" comes behind his ear and snaps forward in a perfect release. <b> </b> The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. He looks near tears. The girls are led by pretty ANNABELLE FARRELL, a bundle of manic energy inside a body from heaven. The huddle breaks and Martel sets up over the center. The ball is snapped and Martel drops back. He looks for a receiver and doesn't see anybody. He steps enters in street clothes and starts undressing quickly. He looks worried. Shane watches Lou for a beat. We see Shane shift his upper body and grimace. McGinty enters and pulls Shane aside. McGINTY Congratulations. It's official. You're staying on after the strike. Shane smiles in spite of the pain. McGINTY It's probably better that you not say anything to the rest of the guys until after the game. Okay? McGinty walks into the middle of the locker room and goes into pre-game speech mode. McGINTY Alright, listen up. The strike is just about history. By tomorrow, you will no longer be Redskins. It's important that you leave here, however, with the knowledge that you have made a difference in your own life, in the owner's life -- or what's left of it -- and especially the fans'. You have proven to a skeptical America that sports is not about contracts, or agents or shoe deals. Sports is about rising <b> </b> to the occasion. We have one more opportunity tonight to do that, one more chance to show what heart is all about. The Dallas Cowboys are waiting out there to kill you. I expect nothing less than for you to win even in your death throes. We have a powerful weapon on our side tonight: there is no tomorrow for most of you. And that makes you very dangerous people. Use it. Everybody laughs politely. He gets high fives from Todd and Rod for Wilkinson's hit. He turns and sees a smiling Annabelle. Shane gives her a guilty wave and then cringes with the pain of just having to lift his arm. On the snap, Butler bashes Cochran's head with his forearm and knocks his helmet off. Then he runs over up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest literally rips the ball out of his hands as he goes down. He's leaning over a groggy Shane on the bench. McGINTY Don't shake your head at me. You are going back in there. You are gonna run the same god damn play, you are gonna throw the ball to Franklin again and this time, he's gonna score. He shoves them under Shane's nose. Shane is suddenly very awake. McGINTY You are the only one in this entire stadium who can do it. Do you understand me? You can do something no one else can do. So, start right here. Start living your destiny. Or give it up for good. Right here. Right now. Shane stares at him. Then he stands up, wobbles and puts on his helmet. Annabelle watches him closely. Nasty-looking linebackers and cornerbacks stare at him. Shane gets an idea. Lamont shifts again. Clifford goes in motion from his flanker position but then changes his mind and goes back the other way. Lamont and Clifford then bump into each other. <b> </b><b>ON PATRIOT DEFENSE </b> They are totally confused now as they try to adjust to the equally confused Redskins. He looks extremely pissed. He turns to hand the ball off to Lamont but Lamont is not there. Shane turns the other way and sees Lamont just standing there looking at him. Shane runs over to him and hands him the ball. Meanwhile, the Patriot defense is going the other direction. Lamont takes off. One cornerback is not taken in. The guy dives for Lamont's legs. We hear a CLANK as the cornerback's HELMET hits Lamont's industrial KNEE BRACE. The guy bounces off and Lamont trots into the end zone. Shane, meanwhile, is looking at McGinty on the sidelines. McGINTY (V.O.) (in Shane's helmet) | How many wins do the Sentinels need in order to advance to the playoffs? | Three. |
literally rips the ball out of his hands as he goes down. He's leaning over a groggy Shane on the bench. McGINTY Don't shake your head at me. You are going back in there. You are gonna run the same god damn play, you are gonna throw the ball to Franklin again and this time, he's gonna score. He shoves them under Shane's nose. Shane is suddenly very awake. McGINTY You are the only one in this entire stadium who can do it. Do you understand me? You can do something no one else can do. So, start right here. Start living your destiny. Or give it up for good. Right here. Right now. Shane stares at him. Then he stands up, wobbles and puts on his helmet. Annabelle watches him closely. Nasty-looking linebackers and cornerbacks stare at him. Shane gets an idea. Lamont shifts again. Clifford goes in motion from his flanker position but then changes his mind and goes back the other way. Lamont and Clifford then bump into each other. <b> </b><b>ON PATRIOT DEFENSE </b> They are totally confused now as they try to adjust to the equally confused Redskins. He looks extremely pissed. He turns to hand the ball off to Lamont but Lamont is not there. Shane turns the other way and sees Lamont just standing there looking at him. Shane runs over to him and hands him the ball. Meanwhile, the Patriot defense is going the other direction. Lamont takes off. One cornerback is not taken in. The guy dives for Lamont's legs. We hear a CLANK as the cornerback's HELMET hits Lamont's industrial KNEE BRACE. The guy bounces off and Lamont trots into the end zone. Shane, meanwhile, is looking at McGinty on the sidelines. McGINTY (V.O.) (in Shane's helmet) what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> to his running back as he yells something like "Blue 31!" It comes out in bubbles He cocks his left leg and his wide receiver goes in motion. Then on the "snap" he turns and starts a five step drop. He moves in slow motion because hey... he's underwater! He executes a perfect play action fake on the third step of his drop, and looks "down field" for his receivers. But there's a blitz! He steps up in the pocket but a linebacker's arm almost takes his head off. He dodges, he bobs, he weaves in a kind of delicate ballet. He rolls left and keeps looking for the open man. Suddenly he points down field, pulls up and cocks his arm. The "ball" comes behind his ear and snaps forward in a perfect release. <b> </b> The trophy spins OUT OF FRAME but we HOLD ON Shane as he watches his pass. Suddenly, he throws both arms up in a touchdown signal. We STAY ON him as he freezes in this pose of victory, fifteen feet underwater, on the trash-covered, muddy bottom of Marina Del Rey. It's a beautiful fall day in November and Miami is beating the Skins in front of seventy-six thousand crazed Washington fans. The Redskins are at their home stadium better known as "The Big O." Madden leans over to do his diagram that shows up on your TV screen. We STAY ON him as he draws and explains. He looks near tears. The girls are led by pretty ANNABELLE FARRELL, a bundle of manic energy inside a body from heaven. The huddle breaks and Martel sets up over the center. The ball is snapped and Martel drops back. He looks for a receiver and doesn't see anybody. He steps up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest | What was the halftime score of the last game of the season? | 17-0 |
what he just heard. Shane looks back at Pacifico and makes a decision. The ball is snapped perfectly. Shane catches it and spots it perfectly. Pacifico moves to kick it. And Shane pulls the ball away. Pacifico flies through the air like Snoopy as he kicks nothing but air. He lands hard. Shane jumps to his feet and starts running. He's in shock. The Dallas middle linebacker has recovered and is moving quickly to cut Shane off. But Reese Evans comes out of nowhere and crushes the guy with a flying block. Shane cuts downfield and heads for the end zone with nobody near him, except: For the same safety from the first half who waits for him at the ten. The safety smiles as he takes a bead on Shane. Shane heads right for the guy. He puts his head down and smacks helmets with the safety. The guy goes down and Shane runs over him and into the end zone. He jumps into the air. Shane stands stock-still in the end zone watching the REF call the penalty. He looks sick. Shane walks up to Pacifico who is down. His arm is being immobilized by a team trainer. Shane nods. In his earpiece, he hears McGinty. McGINTY (V.O.) Someday, you can explain what that was all about. We got no <b> </b> kicker, so you gotta take it in. Your pick. You're the leader. Shane leans into the huddle. He looks around the huddle. He studies each face. And then he comes to rest on Brian Murray. Brian's eyes are shining. He doesn't need words here. Everybody puts their hands into the middle. <b> </b>They break the huddle with a roar. Shane nods. On the snap, Shane rolls left. Todd, Rod and Bob are screaming. <b> </b>O'Neil kisses Augustine. Annabelle throws a punch into the air. McGinty is all smiles. Shane walks up to him and they shake hands. Pilachowski and Banes hug. Lee and Andre are hugging and crying. Cochran is on his knees praying. Reese Evans joins him. Wilkinson hugs Jamal. Clifford Franklin, hometown boy, throws himself into the stands where fans mob him. But he slips awkwardly and falls. He grabs his knee and screams. players have now seen the error of their ways and are coming back in <b> </b> droves. Apparently, they have been struck with the realization that it is a blessing to be playing professional football. There is dead silence in the room. Everybody thinks it's over. McGINTY But they had their chance. Now it's your turn. Mister O'Neil and I have agreed to ban all striking players and to continue to go with you guys. There's a beat and then everyone breaks into cheers. Suddenly, the door flies open and a REPORTER and a cameraman step in and start filming. The Reporter shoves a microphone at McGinty. Out in the restaurant, patrons see the players and a few break into "Hail to the Redskins." Suddenly, the whole restaurant starts singing. Shane looks embarrassed. Pacifico stands up on his seat, and conducts the singing. Andre and Jamal hold their lobsters in the air and make them dance to the song. Martel looks very angry. She gives him a bottle of pills. Shane smiles at her. She suddenly grabs him and they kiss big- time. Then she breaks and walks quickly away. Shane doesn't know what to make of this. Shane is running away from three New York Giant defensive linemen. Shane is not even looking for a receiver. He's looking to save his life. Finally, he's caught by a six-foot-five, two hundred and seventy pound defensive end named HANK MORRIS, who throws him down and lands on top of him. Oooof! He does his interview on camera, standing in front of a huge semi-truck. And a big, overweight truck driver stands next to him. The truck driver suddenly pumps his arm and a <b>CACOPHONY OF TRUCK AIR HORNS GO OFF. </b> football pants and then has to deal with the cup, etc. Next to him, at another urinal, is WALTER COCHRAN, a big, serious bornagain tackle. As he pisses, Walter has his Bible propped open behind the flush handle so he won't miss a minute of scripture. Shane nods. Walter pees for a beat. By now Shane is pissing too. Walter takes his hand off his whizzing member and holds it out to Shane. Shane looks at Walter's hand for a long time, <b> </b>but finally, he removes his own guiding hand and clasps Walter's hand tentatively. A barbecue is in progress for the new Washington Redskins at the beautiful home of Coach McGinty. The huge back yard features a pool and a catered buffet/barbecue. Andre and Jamal are loading down their plates. Mickey Lee is gnawing on a two-foot slab of ribs. Lou Pacifico has a little three card monty going at a picnic table. Wilkinson is smiling but he looks dangerous. Shane is standing alone in a large hallway looking at an enormous trophy case stuffed with the spoils of football. Shane turns and sees her. She's as fetching as ever. Shane has to actually smile at this. Shane is totally taken off guard by this woman. Shane waves uncertainly and walks away. The Judge (now with his jacket off) and Wilkinson are lined up across from each other in a three-point stance in something called a man maker drill. The entire team forms two lanes on either side of them, as they face off. The idea is to knock the other guy down and get by him. Someone says hut! And Wilkinson slams into the Republican 16th Circuit Court Judge and knocks him head over heels. The Judge lands on his back, wham! up across from a cowboy. Shane leans over Reese and takes in the Dallas defense. The Dallas MIDDLE LINEBACKER yells at Shane. Shane just smiles. WHISTLES BLOW. Flags fly everywhere. Most of the Dallas players are down and screaming. Jamal stands across from a DEFENSIVE LINEMAN. He hasn't touched the guy. But he nods to the player to look at his hand. The guy looks down just as Jamal flicks open a deadly-looking switchblade. The guy jumps back and yells: But there is so much confusion that nobody pays any attention. Jamal slips the knife away. Some Dallas players are livid: He's smiling to himself on the sidelines. They break the huddle and line up with their backs to their goal. Shane flicks the ball over the middle to Murray who pulls it in for fifteen yards and a first down. Pacifico kicks the extra point. Scoreboard: Dallas 24, Redskins 14. Pass interference. Redskin first down. He gets the snap and starts looking downfield for receivers. Franklin is shocked. His teammates run INTO FRAME and mob him. A trainer hears that and looks worried. Shane's teammates run up and carry him off the field. On the snap, Franklin bobbles the ball but manages to put it down. Pacifico belts it through the uprights. Scoreboard: Dallas 24, Washington 21. McGINTY I need your hands in there for the field goal. I can't trust Franklin to hold. He almost dropped the extra point. Shane is in major pain but nods his head. On the snap, Wilkinson throws the ball out of bounds. Reese Evans catches up with him. Pacifico doesn't answer. Pacifico looks up from where he is set up for the kick. There are tears in his eyes. Shane tries to digest a lot of tools: a quick release. Fast. A scrambler by nature. Good downfield vision. But you got hurt a lot. And worst of all, you never could win the big game. What did you lose the Sugar Bowl by, your senior year? What, forty points? McGINTY A scrambling quarterback is gonna do real well in this new replacement environment. And to tell you the truth, I think I can help you with your biggest problem. McGINTY Courage. I think that Sugar Bowl took it all out of you. There's a beat as Shane looks away. McGINTY Yeah, and it looks like things have been going really well for you since. Shane doesn't meet McGinty's eyes. McGINTY Yeah. No screaming crowds, that's for sure. (pause) You know what separates the winners from the losers? Gettin' back on the horse. The one that kicked you in the teeth. You're still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends? Shane keeps staring out at the water. McGINTY You want me to tell you you're not going to get hurt? You know you will. No doubt about that. But, hell... He leans against the wall of a liquor store. Lou writes quickly on a small pad. After a beat, another passerby leans in and whispers something to Lou. Lou writes quickly again. People in the street are now starting to look up at this old woman screaming "Foreskins!" Louis quickly crosses the street to his apartment house. But at that moment, a soccer ball bounces toward him from where a group of kids are playing in an alley. Out of pure instinct, Lou gives it a mighty boot. We FOLLOW the arc of the ball as it sails DOWN the block. | Why is Falco's game winning touchdown brought back? | Because of a holding call. |
Subsets and Splits