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motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking checks the piece of paper with Donna's address, she drives by the PG&E COMPRESSOR STATION, a massive gray structure of pipes, chimneys and ladders, set way back from the road. Erin passes it without noticing it. She stops at an intersection. The house on the corner has been boarded up with plywood. Erin notices it -- depressing -- then turns the corner onto Donna's street. The Hyundai pulls into the driveway and stops. Erin gets out. As she heads up to the door, her spike heels sink into the dirt. She rings the bell. It has a melody chime. DONNA IRVING opens the door. She's 35, petite, with a scrappy, high-strung manner. She's wearing tight jeans, and her dark curls are piled on top of her head. She comes out from the kitchen with a tray of iced tea. Donna corrects the positioning on a couple of pillows. This would be the perfect opportunity for many to get self- pitying. But not Donna. Life's handed her a shitload of lemons, and darned if she hasn't made a shitload of lemonade. Donna tops off their iced teas. WIDEN to see Donna pulling the box down into the room. She rifles through the box. She hands Erin a printed fact sheet. Erin scans it. She gets to an intersection and looks across the street at the massive COMPRESSOR STATION. Six stories high, lit up like a Christmas tree, with all sizes of PIPES criss-crossing the outside and GIANT COOLING TOWERS sticking up out of it. Far more massive than anything else in town, it looms over the horizon like the Capitol in D.C. or St. Peter's in Rome. Erin takes a long look at the compressor station, then turns George reaches in his pocket, finds her pacifier. As he's leaning down to give it to her, he hears a RUMBLE coming down the street behind him. The roar grows. He stands, looks. A GROUP OF ABOUT TEN BIKERS has pulled up next to him. He looks at them. They look at him, then at the stroller. George feels ridiculous. When the light changes, the bikers REV LOUDLY and pull out. George just stands there and watches them go. Erin is up at the map, eating Chinese food. She bites into a forkful of food, keeps talking. She reaches for a document, reads from it. In response to the insinuation, Erin gives him a glare. Suddenly, her eyes pop out of her head -- Tears spring to her eyes. She fans furiously at her mouth. Ed finds the tequila from the client and hands it to her. She takes a swig. There's a nanosecond of relief ... until the tequila hits. Her eyes redden. She spews and gasps. He gets up, grabs his trash can, and moves around the room with it, cleaning up all the Chinese food cartons. She doesn't have one. Beat. Ed smiles. He gives her a long look. They both smile a little awkwardly. Take a beat. Then: She flicks on the lights. Brenda's desk is decorated and as a present on it. Erin's is empty. Erin shakes her head. She's surprised by how hurt she is. George looks over at her, sees her eyes glisten a little. He goes over to her, wraps his arms around her. He kisses her. She leans into him. He kisses her some more. She kisses back. She's gonna let as she opens her car door and gets in. ED MASRY, senior partner, slumps by ROSALIND, his chipper receptionist, with a cup of coffee in his hand. He's in his mid-50's, compact and -- even though it's only 9 AM -- already rumpled. Whatever passion he once had for the personal injury law that is his career has long since dissipated. He trundles off toward his office. He grabs a gift-wrapped bottle off her desk, reads the card. Ed peers into his office. It's a mess -- papers everywhere, unopened mail. Standing in the middle of the room is Erin, in a teensy, leopard-print mini-dress. As she jiggles a spike-heeled foot, everything about her shimmies gloriously. Except her head, which is held in place by a neck brace. As Ed heads into his office, Brenda picks up the phone. He clears a stack of papers off a chair. Ed gives her a look of pro-forma sympathy. He takes out a pad and paper, gets ready to write. She glances at the defendant's table, where a DOCTOR sits nobly in surgical scrubs. His WIFE and two beautiful KIDS are behind him. A frigging Norman Rockwell painting. Erin looks over at the jury. The personification of conservative family values. Oh, shit. Erin sees a juror staring judgmentally at her short hem. Erin gives it a tug, pulling it down a stitch. Erin sees a few jurors share dubious glances. Great. Ed shakes his head slightly to her -- don't get mad. Erin sees jurors nodding almost imperceptibly in agreement. She's on a sinking ship. Ed notices her ranting is starting to draw attention. Erin turns away from him and heads for the stairway. Erin gets out, takes the mail from her mailbox, | How could PG&E slow the settlement? | Through delays and appeals. |
huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. and puts his head in his hands. He sits like that for a moment, GROANS to himself. Then he pushes himself up and heads over to his door. When he opens it, he finds Erin still standing there, exactly where he left her, arms crossed. She hasn't budged. Ed pauses, groans again, realizing what decision he's making. She smiles victoriously. He heads back to his desk. Erin follows him into his office. He gives her a look. Knows what's coming. Matthew and Katie fan out into the store. Erin keeps messing with the phone. Erin looks over at him, weary. And she walks away from him. As Erin labels the containers, her heels slide down the side of the ditch, and she lands smack in it, knee-deep in gunk. She adds them to a growing collection of containers in the trunk of her car. Erin spots a few dead frogs in the water. She picks one up by the leg, and seals it in a plastic bag as well. ON THE REPORTS: We catch a few words: "water sample A ...", "soil sample D ...", "frog sample A ...", "... traces of hexavalent ..." Brenda looks at Erin and sees her hem rising in the back. Erin turns to Brenda, relishing the chance to irritate her. Ed, in his office, laughs. He's starting to like this gal. His voice is flat, creepy. Not friendly. CLICK. Erin stares at the phone, freaked. She goes to the living room, double-checks the window locks in there. George follows. She heads into the bedrooms. George reacts, a little stung. He follows her into: She gives him a glare, then leaves the room. Ross is speechless. He just stands there. Erin drags Ed doesn't notice. Erin's getting nervous. He kisses into the phone. Swerves. A car barely misses them. Erin's eyes widen. Not fun at all. He finally hangs up, smiling to himself. Erin clears her throat. He moves over. She gets in, turns off the Sinatra. They pull back out onto the freeway in silence. Roy looks up from his retainer agreement. Erin watches them look around at each other, stunned by the figure. Erin's enjoying Ed's discomfort almost too much to stop. But just almost. She shifts gears. They look at Ed. Well? When they hear this, and realize he's in it with them, they all reach for their pens and sign. They hand the agreements over to Erin, who takes them across the room to Ed. He stuffs them in his briefcase and closes it up. That's that. Boy. Cold as ice. Erin stares at him, stunned by his brusque manner, then leans in to him, close. She picks up a tray of iced tea and cookies and heads to the kitchen. Donna and Mandy follow, leaving Ed alone with Pete and Roy. He stands there, awkwardly. Then, finally: Erin listens, interested. He sees Erin picking her way toward him in her high-heels. She steps in a cow patty. Laughs at herself good-naturedly. Annabelle smiles a little. Erin is holding Beth, watching Matt and Katie sleep. Erin hears the floor creak as George steps into the doorway. They go into their office building. The doors open. Ed gets off. Erin follows. He gets to the Masry & Vititoe doors. Opens them. He shuts his office door on her. He shoves the messages aside room. Not a whole lot of options here. He looks back at Erin. Erin shakes her head, no. Great, thinks Anna. He turns, sees her. Ed looks at her a moment, sees that it's far from okay. He takes out his wallet, looks in. He slaps a hundred in her hand and leaves. When he's gone, she looks at the bill -- her life raft -- and gives it a great big kiss. But of course he can't hear her. She walks over to him, stands right in his line of vision. The guys on the porch chuckle. Erin turns and starts back to her house. George hops off his bike and follows her. Erin shakes her head in disbelief and keeps walking. She stops at her porch, turns to him. She turns and heads inside. He calls out after her: The women go back to stirring their coffees. Erin walks on. Ed appears in the door, carrying the box of files. He plunks the box of files on her desk. She stares at it, with no idea of how to go about that. He sees her staring at the box. Ed heads out, but pauses before leaving. As she wipes the bug guts off the bottom of her shoe: She spots George on his stoop, with a six-pack beside him. He gets up and follows her to her house. Erin turns to him. The kids are waiting at the door. George reaches out and grabs the box from under her arm. He's got a point there. After a beat: Erin comes in from the kitchen. They get up ... ... and head into bed. George starts cleaning up the cards. Erin bends down to help him. She | How many plaintiffs does Erin convince to go along with her? | 634 |
motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking checks the piece of paper with Donna's address, she drives by the PG&E COMPRESSOR STATION, a massive gray structure of pipes, chimneys and ladders, set way back from the road. Erin passes it without noticing it. She stops at an intersection. The house on the corner has been boarded up with plywood. Erin notices it -- depressing -- then turns the corner onto Donna's street. The Hyundai pulls into the driveway and stops. Erin gets out. As she heads up to the door, her spike heels sink into the dirt. She rings the bell. It has a melody chime. DONNA IRVING opens the door. She's 35, petite, with a scrappy, high-strung manner. She's wearing tight jeans, and her dark curls are piled on top of her head. She comes out from the kitchen with a tray of iced tea. Donna corrects the positioning on a couple of pillows. This would be the perfect opportunity for many to get self- pitying. But not Donna. Life's handed her a shitload of lemons, and darned if she hasn't made a shitload of lemonade. Donna tops off their iced teas. WIDEN to see Donna pulling the box down into the room. She rifles through the box. She hands Erin a printed fact sheet. Erin scans it. She gets to an intersection and looks across the street at the massive COMPRESSOR STATION. Six stories high, lit up like a Christmas tree, with all sizes of PIPES criss-crossing the outside and GIANT COOLING TOWERS sticking up out of it. Far more massive than anything else in town, it looms over the horizon like the Capitol in D.C. or St. Peter's in Rome. Erin takes a long look at the compressor station, then turns Ed doesn't notice. Erin's getting nervous. He kisses into the phone. Swerves. A car barely misses them. Erin's eyes widen. Not fun at all. He finally hangs up, smiling to himself. Erin clears her throat. He moves over. She gets in, turns off the Sinatra. They pull back out onto the freeway in silence. Roy looks up from his retainer agreement. Erin watches them look around at each other, stunned by the figure. Erin's enjoying Ed's discomfort almost too much to stop. But just almost. She shifts gears. They look at Ed. Well? When they hear this, and realize he's in it with them, they all reach for their pens and sign. They hand the agreements over to Erin, who takes them across the room to Ed. He stuffs them in his briefcase and closes it up. That's that. Boy. Cold as ice. Erin stares at him, stunned by his brusque manner, then leans in to him, close. She picks up a tray of iced tea and cookies and heads to the kitchen. Donna and Mandy follow, leaving Ed alone with Pete and Roy. He stands there, awkwardly. Then, finally: Erin listens, interested. He sees Erin picking her way toward him in her high-heels. She steps in a cow patty. Laughs at herself good-naturedly. Annabelle smiles a little. Erin is holding Beth, watching Matt and Katie sleep. Erin hears the floor creak as George steps into the doorway. They go into their office building. The doors open. Ed gets off. Erin follows. He gets to the Masry & Vititoe doors. Opens them. He shuts his office door on her. He shoves the messages aside as she opens her car door and gets in. ED MASRY, senior partner, slumps by ROSALIND, his chipper receptionist, with a cup of coffee in his hand. He's in his mid-50's, compact and -- even though it's only 9 AM -- already rumpled. Whatever passion he once had for the personal injury law that is his career has long since dissipated. He trundles off toward his office. He grabs a gift-wrapped bottle off her desk, reads the card. Ed peers into his office. It's a mess -- papers everywhere, unopened mail. Standing in the middle of the room is Erin, in a teensy, leopard-print mini-dress. As she jiggles a spike-heeled foot, everything about her shimmies gloriously. Except her head, which is held in place by a neck brace. As Ed heads into his office, Brenda picks up the phone. He clears a stack of papers off a chair. Ed gives her a look of pro-forma sympathy. He takes out a pad and paper, gets ready to write. She glances at the defendant's table, where a DOCTOR sits nobly in surgical scrubs. His WIFE and two beautiful KIDS are behind him. A frigging Norman Rockwell painting. Erin looks over at the jury. The personification of conservative family values. Oh, shit. Erin sees a juror staring judgmentally at her short hem. Erin gives it a tug, pulling it down a stitch. Erin sees a few jurors share dubious glances. Great. Ed shakes his head slightly to her -- don't get mad. Erin sees jurors nodding almost imperceptibly in agreement. She's on a sinking ship. Ed notices her ranting is starting to draw attention. Erin turns away from him and heads for the stairway. Erin gets out, takes the mail from her mailbox, | How much was the settlement PG&E must pay? | $333 million |
motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking as she opens her car door and gets in. ED MASRY, senior partner, slumps by ROSALIND, his chipper receptionist, with a cup of coffee in his hand. He's in his mid-50's, compact and -- even though it's only 9 AM -- already rumpled. Whatever passion he once had for the personal injury law that is his career has long since dissipated. He trundles off toward his office. He grabs a gift-wrapped bottle off her desk, reads the card. Ed peers into his office. It's a mess -- papers everywhere, unopened mail. Standing in the middle of the room is Erin, in a teensy, leopard-print mini-dress. As she jiggles a spike-heeled foot, everything about her shimmies gloriously. Except her head, which is held in place by a neck brace. As Ed heads into his office, Brenda picks up the phone. He clears a stack of papers off a chair. Ed gives her a look of pro-forma sympathy. He takes out a pad and paper, gets ready to write. She glances at the defendant's table, where a DOCTOR sits nobly in surgical scrubs. His WIFE and two beautiful KIDS are behind him. A frigging Norman Rockwell painting. Erin looks over at the jury. The personification of conservative family values. Oh, shit. Erin sees a juror staring judgmentally at her short hem. Erin gives it a tug, pulling it down a stitch. Erin sees a few jurors share dubious glances. Great. Ed shakes his head slightly to her -- don't get mad. Erin sees jurors nodding almost imperceptibly in agreement. She's on a sinking ship. Ed notices her ranting is starting to draw attention. Erin turns away from him and heads for the stairway. Erin gets out, takes the mail from her mailbox, and puts his head in his hands. He sits like that for a moment, GROANS to himself. Then he pushes himself up and heads over to his door. When he opens it, he finds Erin still standing there, exactly where he left her, arms crossed. She hasn't budged. Ed pauses, groans again, realizing what decision he's making. She smiles victoriously. He heads back to his desk. Erin follows him into his office. He gives her a look. Knows what's coming. Matthew and Katie fan out into the store. Erin keeps messing with the phone. Erin looks over at him, weary. And she walks away from him. As Erin labels the containers, her heels slide down the side of the ditch, and she lands smack in it, knee-deep in gunk. She adds them to a growing collection of containers in the trunk of her car. Erin spots a few dead frogs in the water. She picks one up by the leg, and seals it in a plastic bag as well. ON THE REPORTS: We catch a few words: "water sample A ...", "soil sample D ...", "frog sample A ...", "... traces of hexavalent ..." Brenda looks at Erin and sees her hem rising in the back. Erin turns to Brenda, relishing the chance to irritate her. Ed, in his office, laughs. He's starting to like this gal. His voice is flat, creepy. Not friendly. CLICK. Erin stares at the phone, freaked. She goes to the living room, double-checks the window locks in there. George follows. She heads into the bedrooms. George reacts, a little stung. He follows her into: She gives him a glare, then leaves the room. Ross is speechless. He just stands there. Erin drags Ed doesn't notice. Erin's getting nervous. He kisses into the phone. Swerves. A car barely misses them. Erin's eyes widen. Not fun at all. He finally hangs up, smiling to himself. Erin clears her throat. He moves over. She gets in, turns off the Sinatra. They pull back out onto the freeway in silence. Roy looks up from his retainer agreement. Erin watches them look around at each other, stunned by the figure. Erin's enjoying Ed's discomfort almost too much to stop. But just almost. She shifts gears. They look at Ed. Well? When they hear this, and realize he's in it with them, they all reach for their pens and sign. They hand the agreements over to Erin, who takes them across the room to Ed. He stuffs them in his briefcase and closes it up. That's that. Boy. Cold as ice. Erin stares at him, stunned by his brusque manner, then leans in to him, close. She picks up a tray of iced tea and cookies and heads to the kitchen. Donna and Mandy follow, leaving Ed alone with Pete and Roy. He stands there, awkwardly. Then, finally: Erin listens, interested. He sees Erin picking her way toward him in her high-heels. She steps in a cow patty. Laughs at herself good-naturedly. Annabelle smiles a little. Erin is holding Beth, watching Matt and Katie sleep. Erin hears the floor creak as George steps into the doorway. They go into their office building. The doors open. Ed gets off. Erin follows. He gets to the Masry & Vititoe doors. Opens them. He shuts his office door on her. He shoves the messages aside | What was Erin's bonus for the case? | $2 million |
motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking George reaches in his pocket, finds her pacifier. As he's leaning down to give it to her, he hears a RUMBLE coming down the street behind him. The roar grows. He stands, looks. A GROUP OF ABOUT TEN BIKERS has pulled up next to him. He looks at them. They look at him, then at the stroller. George feels ridiculous. When the light changes, the bikers REV LOUDLY and pull out. George just stands there and watches them go. Erin is up at the map, eating Chinese food. She bites into a forkful of food, keeps talking. She reaches for a document, reads from it. In response to the insinuation, Erin gives him a glare. Suddenly, her eyes pop out of her head -- Tears spring to her eyes. She fans furiously at her mouth. Ed finds the tequila from the client and hands it to her. She takes a swig. There's a nanosecond of relief ... until the tequila hits. Her eyes redden. She spews and gasps. He gets up, grabs his trash can, and moves around the room with it, cleaning up all the Chinese food cartons. She doesn't have one. Beat. Ed smiles. He gives her a long look. They both smile a little awkwardly. Take a beat. Then: She flicks on the lights. Brenda's desk is decorated and as a present on it. Erin's is empty. Erin shakes her head. She's surprised by how hurt she is. George looks over at her, sees her eyes glisten a little. He goes over to her, wraps his arms around her. He kisses her. She leans into him. He kisses her some more. She kisses back. She's gonna let and puts his head in his hands. He sits like that for a moment, GROANS to himself. Then he pushes himself up and heads over to his door. When he opens it, he finds Erin still standing there, exactly where he left her, arms crossed. She hasn't budged. Ed pauses, groans again, realizing what decision he's making. She smiles victoriously. He heads back to his desk. Erin follows him into his office. He gives her a look. Knows what's coming. Matthew and Katie fan out into the store. Erin keeps messing with the phone. Erin looks over at him, weary. And she walks away from him. As Erin labels the containers, her heels slide down the side of the ditch, and she lands smack in it, knee-deep in gunk. She adds them to a growing collection of containers in the trunk of her car. Erin spots a few dead frogs in the water. She picks one up by the leg, and seals it in a plastic bag as well. ON THE REPORTS: We catch a few words: "water sample A ...", "soil sample D ...", "frog sample A ...", "... traces of hexavalent ..." Brenda looks at Erin and sees her hem rising in the back. Erin turns to Brenda, relishing the chance to irritate her. Ed, in his office, laughs. He's starting to like this gal. His voice is flat, creepy. Not friendly. CLICK. Erin stares at the phone, freaked. She goes to the living room, double-checks the window locks in there. George follows. She heads into the bedrooms. George reacts, a little stung. He follows her into: She gives him a glare, then leaves the room. Ross is speechless. He just stands there. Erin drags room. Not a whole lot of options here. He looks back at Erin. Erin shakes her head, no. Great, thinks Anna. He turns, sees her. Ed looks at her a moment, sees that it's far from okay. He takes out his wallet, looks in. He slaps a hundred in her hand and leaves. When he's gone, she looks at the bill -- her life raft -- and gives it a great big kiss. But of course he can't hear her. She walks over to him, stands right in his line of vision. The guys on the porch chuckle. Erin turns and starts back to her house. George hops off his bike and follows her. Erin shakes her head in disbelief and keeps walking. She stops at her porch, turns to him. She turns and heads inside. He calls out after her: The women go back to stirring their coffees. Erin walks on. Ed appears in the door, carrying the box of files. He plunks the box of files on her desk. She stares at it, with no idea of how to go about that. He sees her staring at the box. Ed heads out, but pauses before leaving. As she wipes the bug guts off the bottom of her shoe: She spots George on his stoop, with a six-pack beside him. He gets up and follows her to her house. Erin turns to him. The kids are waiting at the door. George reaches out and grabs the box from under her arm. He's got a point there. After a beat: Erin comes in from the kitchen. They get up ... ... and head into bed. George starts cleaning up the cards. Erin bends down to help him. She | How many children did Erin have? | Three. |
motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking George reaches in his pocket, finds her pacifier. As he's leaning down to give it to her, he hears a RUMBLE coming down the street behind him. The roar grows. He stands, looks. A GROUP OF ABOUT TEN BIKERS has pulled up next to him. He looks at them. They look at him, then at the stroller. George feels ridiculous. When the light changes, the bikers REV LOUDLY and pull out. George just stands there and watches them go. Erin is up at the map, eating Chinese food. She bites into a forkful of food, keeps talking. She reaches for a document, reads from it. In response to the insinuation, Erin gives him a glare. Suddenly, her eyes pop out of her head -- Tears spring to her eyes. She fans furiously at her mouth. Ed finds the tequila from the client and hands it to her. She takes a swig. There's a nanosecond of relief ... until the tequila hits. Her eyes redden. She spews and gasps. He gets up, grabs his trash can, and moves around the room with it, cleaning up all the Chinese food cartons. She doesn't have one. Beat. Ed smiles. He gives her a long look. They both smile a little awkwardly. Take a beat. Then: She flicks on the lights. Brenda's desk is decorated and as a present on it. Erin's is empty. Erin shakes her head. She's surprised by how hurt she is. George looks over at her, sees her eyes glisten a little. He goes over to her, wraps his arms around her. He kisses her. She leans into him. He kisses her some more. She kisses back. She's gonna let and puts his head in his hands. He sits like that for a moment, GROANS to himself. Then he pushes himself up and heads over to his door. When he opens it, he finds Erin still standing there, exactly where he left her, arms crossed. She hasn't budged. Ed pauses, groans again, realizing what decision he's making. She smiles victoriously. He heads back to his desk. Erin follows him into his office. He gives her a look. Knows what's coming. Matthew and Katie fan out into the store. Erin keeps messing with the phone. Erin looks over at him, weary. And she walks away from him. As Erin labels the containers, her heels slide down the side of the ditch, and she lands smack in it, knee-deep in gunk. She adds them to a growing collection of containers in the trunk of her car. Erin spots a few dead frogs in the water. She picks one up by the leg, and seals it in a plastic bag as well. ON THE REPORTS: We catch a few words: "water sample A ...", "soil sample D ...", "frog sample A ...", "... traces of hexavalent ..." Brenda looks at Erin and sees her hem rising in the back. Erin turns to Brenda, relishing the chance to irritate her. Ed, in his office, laughs. He's starting to like this gal. His voice is flat, creepy. Not friendly. CLICK. Erin stares at the phone, freaked. She goes to the living room, double-checks the window locks in there. George follows. She heads into the bedrooms. George reacts, a little stung. He follows her into: She gives him a glare, then leaves the room. Ross is speechless. He just stands there. Erin drags room. Not a whole lot of options here. He looks back at Erin. Erin shakes her head, no. Great, thinks Anna. He turns, sees her. Ed looks at her a moment, sees that it's far from okay. He takes out his wallet, looks in. He slaps a hundred in her hand and leaves. When he's gone, she looks at the bill -- her life raft -- and gives it a great big kiss. But of course he can't hear her. She walks over to him, stands right in his line of vision. The guys on the porch chuckle. Erin turns and starts back to her house. George hops off his bike and follows her. Erin shakes her head in disbelief and keeps walking. She stops at her porch, turns to him. She turns and heads inside. He calls out after her: The women go back to stirring their coffees. Erin walks on. Ed appears in the door, carrying the box of files. He plunks the box of files on her desk. She stares at it, with no idea of how to go about that. He sees her staring at the box. Ed heads out, but pauses before leaving. As she wipes the bug guts off the bottom of her shoe: She spots George on his stoop, with a six-pack beside him. He gets up and follows her to her house. Erin turns to him. The kids are waiting at the door. George reaches out and grabs the box from under her arm. He's got a point there. After a beat: Erin comes in from the kitchen. They get up ... ... and head into bed. George starts cleaning up the cards. Erin bends down to help him. She | How was Erin injured? | In an accident. |
huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. George reaches in his pocket, finds her pacifier. As he's leaning down to give it to her, he hears a RUMBLE coming down the street behind him. The roar grows. He stands, looks. A GROUP OF ABOUT TEN BIKERS has pulled up next to him. He looks at them. They look at him, then at the stroller. George feels ridiculous. When the light changes, the bikers REV LOUDLY and pull out. George just stands there and watches them go. Erin is up at the map, eating Chinese food. She bites into a forkful of food, keeps talking. She reaches for a document, reads from it. In response to the insinuation, Erin gives him a glare. Suddenly, her eyes pop out of her head -- Tears spring to her eyes. She fans furiously at her mouth. Ed finds the tequila from the client and hands it to her. She takes a swig. There's a nanosecond of relief ... until the tequila hits. Her eyes redden. She spews and gasps. He gets up, grabs his trash can, and moves around the room with it, cleaning up all the Chinese food cartons. She doesn't have one. Beat. Ed smiles. He gives her a long look. They both smile a little awkwardly. Take a beat. Then: She flicks on the lights. Brenda's desk is decorated and as a present on it. Erin's is empty. Erin shakes her head. She's surprised by how hurt she is. George looks over at her, sees her eyes glisten a little. He goes over to her, wraps his arms around her. He kisses her. She leans into him. He kisses her some more. She kisses back. She's gonna let and puts his head in his hands. He sits like that for a moment, GROANS to himself. Then he pushes himself up and heads over to his door. When he opens it, he finds Erin still standing there, exactly where he left her, arms crossed. She hasn't budged. Ed pauses, groans again, realizing what decision he's making. She smiles victoriously. He heads back to his desk. Erin follows him into his office. He gives her a look. Knows what's coming. Matthew and Katie fan out into the store. Erin keeps messing with the phone. Erin looks over at him, weary. And she walks away from him. As Erin labels the containers, her heels slide down the side of the ditch, and she lands smack in it, knee-deep in gunk. She adds them to a growing collection of containers in the trunk of her car. Erin spots a few dead frogs in the water. She picks one up by the leg, and seals it in a plastic bag as well. ON THE REPORTS: We catch a few words: "water sample A ...", "soil sample D ...", "frog sample A ...", "... traces of hexavalent ..." Brenda looks at Erin and sees her hem rising in the back. Erin turns to Brenda, relishing the chance to irritate her. Ed, in his office, laughs. He's starting to like this gal. His voice is flat, creepy. Not friendly. CLICK. Erin stares at the phone, freaked. She goes to the living room, double-checks the window locks in there. George follows. She heads into the bedrooms. George reacts, a little stung. He follows her into: She gives him a glare, then leaves the room. Ross is speechless. He just stands there. Erin drags checks the piece of paper with Donna's address, she drives by the PG&E COMPRESSOR STATION, a massive gray structure of pipes, chimneys and ladders, set way back from the road. Erin passes it without noticing it. She stops at an intersection. The house on the corner has been boarded up with plywood. Erin notices it -- depressing -- then turns the corner onto Donna's street. The Hyundai pulls into the driveway and stops. Erin gets out. As she heads up to the door, her spike heels sink into the dirt. She rings the bell. It has a melody chime. DONNA IRVING opens the door. She's 35, petite, with a scrappy, high-strung manner. She's wearing tight jeans, and her dark curls are piled on top of her head. She comes out from the kitchen with a tray of iced tea. Donna corrects the positioning on a couple of pillows. This would be the perfect opportunity for many to get self- pitying. But not Donna. Life's handed her a shitload of lemons, and darned if she hasn't made a shitload of lemonade. Donna tops off their iced teas. WIDEN to see Donna pulling the box down into the room. She rifles through the box. She hands Erin a printed fact sheet. Erin scans it. She gets to an intersection and looks across the street at the massive COMPRESSOR STATION. Six stories high, lit up like a Christmas tree, with all sizes of PIPES criss-crossing the outside and GIANT COOLING TOWERS sticking up out of it. Far more massive than anything else in town, it looms over the horizon like the Capitol in D.C. or St. Peter's in Rome. Erin takes a long look at the compressor station, then turns | Who wants to buy Donna's home? | PG&E. |
motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking checks the piece of paper with Donna's address, she drives by the PG&E COMPRESSOR STATION, a massive gray structure of pipes, chimneys and ladders, set way back from the road. Erin passes it without noticing it. She stops at an intersection. The house on the corner has been boarded up with plywood. Erin notices it -- depressing -- then turns the corner onto Donna's street. The Hyundai pulls into the driveway and stops. Erin gets out. As she heads up to the door, her spike heels sink into the dirt. She rings the bell. It has a melody chime. DONNA IRVING opens the door. She's 35, petite, with a scrappy, high-strung manner. She's wearing tight jeans, and her dark curls are piled on top of her head. She comes out from the kitchen with a tray of iced tea. Donna corrects the positioning on a couple of pillows. This would be the perfect opportunity for many to get self- pitying. But not Donna. Life's handed her a shitload of lemons, and darned if she hasn't made a shitload of lemonade. Donna tops off their iced teas. WIDEN to see Donna pulling the box down into the room. She rifles through the box. She hands Erin a printed fact sheet. Erin scans it. She gets to an intersection and looks across the street at the massive COMPRESSOR STATION. Six stories high, lit up like a Christmas tree, with all sizes of PIPES criss-crossing the outside and GIANT COOLING TOWERS sticking up out of it. Far more massive than anything else in town, it looms over the horizon like the Capitol in D.C. or St. Peter's in Rome. Erin takes a long look at the compressor station, then turns George reaches in his pocket, finds her pacifier. As he's leaning down to give it to her, he hears a RUMBLE coming down the street behind him. The roar grows. He stands, looks. A GROUP OF ABOUT TEN BIKERS has pulled up next to him. He looks at them. They look at him, then at the stroller. George feels ridiculous. When the light changes, the bikers REV LOUDLY and pull out. George just stands there and watches them go. Erin is up at the map, eating Chinese food. She bites into a forkful of food, keeps talking. She reaches for a document, reads from it. In response to the insinuation, Erin gives him a glare. Suddenly, her eyes pop out of her head -- Tears spring to her eyes. She fans furiously at her mouth. Ed finds the tequila from the client and hands it to her. She takes a swig. There's a nanosecond of relief ... until the tequila hits. Her eyes redden. She spews and gasps. He gets up, grabs his trash can, and moves around the room with it, cleaning up all the Chinese food cartons. She doesn't have one. Beat. Ed smiles. He gives her a long look. They both smile a little awkwardly. Take a beat. Then: She flicks on the lights. Brenda's desk is decorated and as a present on it. Erin's is empty. Erin shakes her head. She's surprised by how hurt she is. George looks over at her, sees her eyes glisten a little. He goes over to her, wraps his arms around her. He kisses her. She leans into him. He kisses her some more. She kisses back. She's gonna let as she opens her car door and gets in. ED MASRY, senior partner, slumps by ROSALIND, his chipper receptionist, with a cup of coffee in his hand. He's in his mid-50's, compact and -- even though it's only 9 AM -- already rumpled. Whatever passion he once had for the personal injury law that is his career has long since dissipated. He trundles off toward his office. He grabs a gift-wrapped bottle off her desk, reads the card. Ed peers into his office. It's a mess -- papers everywhere, unopened mail. Standing in the middle of the room is Erin, in a teensy, leopard-print mini-dress. As she jiggles a spike-heeled foot, everything about her shimmies gloriously. Except her head, which is held in place by a neck brace. As Ed heads into his office, Brenda picks up the phone. He clears a stack of papers off a chair. Ed gives her a look of pro-forma sympathy. He takes out a pad and paper, gets ready to write. She glances at the defendant's table, where a DOCTOR sits nobly in surgical scrubs. His WIFE and two beautiful KIDS are behind him. A frigging Norman Rockwell painting. Erin looks over at the jury. The personification of conservative family values. Oh, shit. Erin sees a juror staring judgmentally at her short hem. Erin gives it a tug, pulling it down a stitch. Erin sees a few jurors share dubious glances. Great. Ed shakes his head slightly to her -- don't get mad. Erin sees jurors nodding almost imperceptibly in agreement. She's on a sinking ship. Ed notices her ranting is starting to draw attention. Erin turns away from him and heads for the stairway. Erin gets out, takes the mail from her mailbox, | Where does Donna live? | Hinkley, California. |
motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking and puts his head in his hands. He sits like that for a moment, GROANS to himself. Then he pushes himself up and heads over to his door. When he opens it, he finds Erin still standing there, exactly where he left her, arms crossed. She hasn't budged. Ed pauses, groans again, realizing what decision he's making. She smiles victoriously. He heads back to his desk. Erin follows him into his office. He gives her a look. Knows what's coming. Matthew and Katie fan out into the store. Erin keeps messing with the phone. Erin looks over at him, weary. And she walks away from him. As Erin labels the containers, her heels slide down the side of the ditch, and she lands smack in it, knee-deep in gunk. She adds them to a growing collection of containers in the trunk of her car. Erin spots a few dead frogs in the water. She picks one up by the leg, and seals it in a plastic bag as well. ON THE REPORTS: We catch a few words: "water sample A ...", "soil sample D ...", "frog sample A ...", "... traces of hexavalent ..." Brenda looks at Erin and sees her hem rising in the back. Erin turns to Brenda, relishing the chance to irritate her. Ed, in his office, laughs. He's starting to like this gal. His voice is flat, creepy. Not friendly. CLICK. Erin stares at the phone, freaked. She goes to the living room, double-checks the window locks in there. George follows. She heads into the bedrooms. George reacts, a little stung. He follows her into: She gives him a glare, then leaves the room. Ross is speechless. He just stands there. Erin drags as she opens her car door and gets in. ED MASRY, senior partner, slumps by ROSALIND, his chipper receptionist, with a cup of coffee in his hand. He's in his mid-50's, compact and -- even though it's only 9 AM -- already rumpled. Whatever passion he once had for the personal injury law that is his career has long since dissipated. He trundles off toward his office. He grabs a gift-wrapped bottle off her desk, reads the card. Ed peers into his office. It's a mess -- papers everywhere, unopened mail. Standing in the middle of the room is Erin, in a teensy, leopard-print mini-dress. As she jiggles a spike-heeled foot, everything about her shimmies gloriously. Except her head, which is held in place by a neck brace. As Ed heads into his office, Brenda picks up the phone. He clears a stack of papers off a chair. Ed gives her a look of pro-forma sympathy. He takes out a pad and paper, gets ready to write. She glances at the defendant's table, where a DOCTOR sits nobly in surgical scrubs. His WIFE and two beautiful KIDS are behind him. A frigging Norman Rockwell painting. Erin looks over at the jury. The personification of conservative family values. Oh, shit. Erin sees a juror staring judgmentally at her short hem. Erin gives it a tug, pulling it down a stitch. Erin sees a few jurors share dubious glances. Great. Ed shakes his head slightly to her -- don't get mad. Erin sees jurors nodding almost imperceptibly in agreement. She's on a sinking ship. Ed notices her ranting is starting to draw attention. Erin turns away from him and heads for the stairway. Erin gets out, takes the mail from her mailbox, George reaches in his pocket, finds her pacifier. As he's leaning down to give it to her, he hears a RUMBLE coming down the street behind him. The roar grows. He stands, looks. A GROUP OF ABOUT TEN BIKERS has pulled up next to him. He looks at them. They look at him, then at the stroller. George feels ridiculous. When the light changes, the bikers REV LOUDLY and pull out. George just stands there and watches them go. Erin is up at the map, eating Chinese food. She bites into a forkful of food, keeps talking. She reaches for a document, reads from it. In response to the insinuation, Erin gives him a glare. Suddenly, her eyes pop out of her head -- Tears spring to her eyes. She fans furiously at her mouth. Ed finds the tequila from the client and hands it to her. She takes a swig. There's a nanosecond of relief ... until the tequila hits. Her eyes redden. She spews and gasps. He gets up, grabs his trash can, and moves around the room with it, cleaning up all the Chinese food cartons. She doesn't have one. Beat. Ed smiles. He gives her a long look. They both smile a little awkwardly. Take a beat. Then: She flicks on the lights. Brenda's desk is decorated and as a present on it. Erin's is empty. Erin shakes her head. She's surprised by how hurt she is. George looks over at her, sees her eyes glisten a little. He goes over to her, wraps his arms around her. He kisses her. She leans into him. He kisses her some more. She kisses back. She's gonna let | What is wrong with Donna's husband? | He has Hodgekin's lymphoma. |
motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking as she opens her car door and gets in. ED MASRY, senior partner, slumps by ROSALIND, his chipper receptionist, with a cup of coffee in his hand. He's in his mid-50's, compact and -- even though it's only 9 AM -- already rumpled. Whatever passion he once had for the personal injury law that is his career has long since dissipated. He trundles off toward his office. He grabs a gift-wrapped bottle off her desk, reads the card. Ed peers into his office. It's a mess -- papers everywhere, unopened mail. Standing in the middle of the room is Erin, in a teensy, leopard-print mini-dress. As she jiggles a spike-heeled foot, everything about her shimmies gloriously. Except her head, which is held in place by a neck brace. As Ed heads into his office, Brenda picks up the phone. He clears a stack of papers off a chair. Ed gives her a look of pro-forma sympathy. He takes out a pad and paper, gets ready to write. She glances at the defendant's table, where a DOCTOR sits nobly in surgical scrubs. His WIFE and two beautiful KIDS are behind him. A frigging Norman Rockwell painting. Erin looks over at the jury. The personification of conservative family values. Oh, shit. Erin sees a juror staring judgmentally at her short hem. Erin gives it a tug, pulling it down a stitch. Erin sees a few jurors share dubious glances. Great. Ed shakes his head slightly to her -- don't get mad. Erin sees jurors nodding almost imperceptibly in agreement. She's on a sinking ship. Ed notices her ranting is starting to draw attention. Erin turns away from him and heads for the stairway. Erin gets out, takes the mail from her mailbox, room. Not a whole lot of options here. He looks back at Erin. Erin shakes her head, no. Great, thinks Anna. He turns, sees her. Ed looks at her a moment, sees that it's far from okay. He takes out his wallet, looks in. He slaps a hundred in her hand and leaves. When he's gone, she looks at the bill -- her life raft -- and gives it a great big kiss. But of course he can't hear her. She walks over to him, stands right in his line of vision. The guys on the porch chuckle. Erin turns and starts back to her house. George hops off his bike and follows her. Erin shakes her head in disbelief and keeps walking. She stops at her porch, turns to him. She turns and heads inside. He calls out after her: The women go back to stirring their coffees. Erin walks on. Ed appears in the door, carrying the box of files. He plunks the box of files on her desk. She stares at it, with no idea of how to go about that. He sees her staring at the box. Ed heads out, but pauses before leaving. As she wipes the bug guts off the bottom of her shoe: She spots George on his stoop, with a six-pack beside him. He gets up and follows her to her house. Erin turns to him. The kids are waiting at the door. George reaches out and grabs the box from under her arm. He's got a point there. After a beat: Erin comes in from the kitchen. They get up ... ... and head into bed. George starts cleaning up the cards. Erin bends down to help him. She Ed doesn't notice. Erin's getting nervous. He kisses into the phone. Swerves. A car barely misses them. Erin's eyes widen. Not fun at all. He finally hangs up, smiling to himself. Erin clears her throat. He moves over. She gets in, turns off the Sinatra. They pull back out onto the freeway in silence. Roy looks up from his retainer agreement. Erin watches them look around at each other, stunned by the figure. Erin's enjoying Ed's discomfort almost too much to stop. But just almost. She shifts gears. They look at Ed. Well? When they hear this, and realize he's in it with them, they all reach for their pens and sign. They hand the agreements over to Erin, who takes them across the room to Ed. He stuffs them in his briefcase and closes it up. That's that. Boy. Cold as ice. Erin stares at him, stunned by his brusque manner, then leans in to him, close. She picks up a tray of iced tea and cookies and heads to the kitchen. Donna and Mandy follow, leaving Ed alone with Pete and Roy. He stands there, awkwardly. Then, finally: Erin listens, interested. He sees Erin picking her way toward him in her high-heels. She steps in a cow patty. Laughs at herself good-naturedly. Annabelle smiles a little. Erin is holding Beth, watching Matt and Katie sleep. Erin hears the floor creak as George steps into the doorway. They go into their office building. The doors open. Ed gets off. Erin follows. He gets to the Masry & Vititoe doors. Opens them. He shuts his office door on her. He shoves the messages aside | What is contaminated? | The water. |
motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. as she opens her car door and gets in. ED MASRY, senior partner, slumps by ROSALIND, his chipper receptionist, with a cup of coffee in his hand. He's in his mid-50's, compact and -- even though it's only 9 AM -- already rumpled. Whatever passion he once had for the personal injury law that is his career has long since dissipated. He trundles off toward his office. He grabs a gift-wrapped bottle off her desk, reads the card. Ed peers into his office. It's a mess -- papers everywhere, unopened mail. Standing in the middle of the room is Erin, in a teensy, leopard-print mini-dress. As she jiggles a spike-heeled foot, everything about her shimmies gloriously. Except her head, which is held in place by a neck brace. As Ed heads into his office, Brenda picks up the phone. He clears a stack of papers off a chair. Ed gives her a look of pro-forma sympathy. He takes out a pad and paper, gets ready to write. She glances at the defendant's table, where a DOCTOR sits nobly in surgical scrubs. His WIFE and two beautiful KIDS are behind him. A frigging Norman Rockwell painting. Erin looks over at the jury. The personification of conservative family values. Oh, shit. Erin sees a juror staring judgmentally at her short hem. Erin gives it a tug, pulling it down a stitch. Erin sees a few jurors share dubious glances. Great. Ed shakes his head slightly to her -- don't get mad. Erin sees jurors nodding almost imperceptibly in agreement. She's on a sinking ship. Ed notices her ranting is starting to draw attention. Erin turns away from him and heads for the stairway. Erin gets out, takes the mail from her mailbox, huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking room. Not a whole lot of options here. He looks back at Erin. Erin shakes her head, no. Great, thinks Anna. He turns, sees her. Ed looks at her a moment, sees that it's far from okay. He takes out his wallet, looks in. He slaps a hundred in her hand and leaves. When he's gone, she looks at the bill -- her life raft -- and gives it a great big kiss. But of course he can't hear her. She walks over to him, stands right in his line of vision. The guys on the porch chuckle. Erin turns and starts back to her house. George hops off his bike and follows her. Erin shakes her head in disbelief and keeps walking. She stops at her porch, turns to him. She turns and heads inside. He calls out after her: The women go back to stirring their coffees. Erin walks on. Ed appears in the door, carrying the box of files. He plunks the box of files on her desk. She stares at it, with no idea of how to go about that. He sees her staring at the box. Ed heads out, but pauses before leaving. As she wipes the bug guts off the bottom of her shoe: She spots George on his stoop, with a six-pack beside him. He gets up and follows her to her house. Erin turns to him. The kids are waiting at the door. George reaches out and grabs the box from under her arm. He's got a point there. After a beat: Erin comes in from the kitchen. They get up ... ... and head into bed. George starts cleaning up the cards. Erin bends down to help him. She checks the piece of paper with Donna's address, she drives by the PG&E COMPRESSOR STATION, a massive gray structure of pipes, chimneys and ladders, set way back from the road. Erin passes it without noticing it. She stops at an intersection. The house on the corner has been boarded up with plywood. Erin notices it -- depressing -- then turns the corner onto Donna's street. The Hyundai pulls into the driveway and stops. Erin gets out. As she heads up to the door, her spike heels sink into the dirt. She rings the bell. It has a melody chime. DONNA IRVING opens the door. She's 35, petite, with a scrappy, high-strung manner. She's wearing tight jeans, and her dark curls are piled on top of her head. She comes out from the kitchen with a tray of iced tea. Donna corrects the positioning on a couple of pillows. This would be the perfect opportunity for many to get self- pitying. But not Donna. Life's handed her a shitload of lemons, and darned if she hasn't made a shitload of lemonade. Donna tops off their iced teas. WIDEN to see Donna pulling the box down into the room. She rifles through the box. She hands Erin a printed fact sheet. Erin scans it. She gets to an intersection and looks across the street at the massive COMPRESSOR STATION. Six stories high, lit up like a Christmas tree, with all sizes of PIPES criss-crossing the outside and GIANT COOLING TOWERS sticking up out of it. Far more massive than anything else in town, it looms over the horizon like the Capitol in D.C. or St. Peter's in Rome. Erin takes a long look at the compressor station, then turns | Who finds out that there is contamination? | Erin. |
motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking as she opens her car door and gets in. ED MASRY, senior partner, slumps by ROSALIND, his chipper receptionist, with a cup of coffee in his hand. He's in his mid-50's, compact and -- even though it's only 9 AM -- already rumpled. Whatever passion he once had for the personal injury law that is his career has long since dissipated. He trundles off toward his office. He grabs a gift-wrapped bottle off her desk, reads the card. Ed peers into his office. It's a mess -- papers everywhere, unopened mail. Standing in the middle of the room is Erin, in a teensy, leopard-print mini-dress. As she jiggles a spike-heeled foot, everything about her shimmies gloriously. Except her head, which is held in place by a neck brace. As Ed heads into his office, Brenda picks up the phone. He clears a stack of papers off a chair. Ed gives her a look of pro-forma sympathy. He takes out a pad and paper, gets ready to write. She glances at the defendant's table, where a DOCTOR sits nobly in surgical scrubs. His WIFE and two beautiful KIDS are behind him. A frigging Norman Rockwell painting. Erin looks over at the jury. The personification of conservative family values. Oh, shit. Erin sees a juror staring judgmentally at her short hem. Erin gives it a tug, pulling it down a stitch. Erin sees a few jurors share dubious glances. Great. Ed shakes his head slightly to her -- don't get mad. Erin sees jurors nodding almost imperceptibly in agreement. She's on a sinking ship. Ed notices her ranting is starting to draw attention. Erin turns away from him and heads for the stairway. Erin gets out, takes the mail from her mailbox, and puts his head in his hands. He sits like that for a moment, GROANS to himself. Then he pushes himself up and heads over to his door. When he opens it, he finds Erin still standing there, exactly where he left her, arms crossed. She hasn't budged. Ed pauses, groans again, realizing what decision he's making. She smiles victoriously. He heads back to his desk. Erin follows him into his office. He gives her a look. Knows what's coming. Matthew and Katie fan out into the store. Erin keeps messing with the phone. Erin looks over at him, weary. And she walks away from him. As Erin labels the containers, her heels slide down the side of the ditch, and she lands smack in it, knee-deep in gunk. She adds them to a growing collection of containers in the trunk of her car. Erin spots a few dead frogs in the water. She picks one up by the leg, and seals it in a plastic bag as well. ON THE REPORTS: We catch a few words: "water sample A ...", "soil sample D ...", "frog sample A ...", "... traces of hexavalent ..." Brenda looks at Erin and sees her hem rising in the back. Erin turns to Brenda, relishing the chance to irritate her. Ed, in his office, laughs. He's starting to like this gal. His voice is flat, creepy. Not friendly. CLICK. Erin stares at the phone, freaked. She goes to the living room, double-checks the window locks in there. George follows. She heads into the bedrooms. George reacts, a little stung. He follows her into: She gives him a glare, then leaves the room. Ross is speechless. He just stands there. Erin drags George reaches in his pocket, finds her pacifier. As he's leaning down to give it to her, he hears a RUMBLE coming down the street behind him. The roar grows. He stands, looks. A GROUP OF ABOUT TEN BIKERS has pulled up next to him. He looks at them. They look at him, then at the stroller. George feels ridiculous. When the light changes, the bikers REV LOUDLY and pull out. George just stands there and watches them go. Erin is up at the map, eating Chinese food. She bites into a forkful of food, keeps talking. She reaches for a document, reads from it. In response to the insinuation, Erin gives him a glare. Suddenly, her eyes pop out of her head -- Tears spring to her eyes. She fans furiously at her mouth. Ed finds the tequila from the client and hands it to her. She takes a swig. There's a nanosecond of relief ... until the tequila hits. Her eyes redden. She spews and gasps. He gets up, grabs his trash can, and moves around the room with it, cleaning up all the Chinese food cartons. She doesn't have one. Beat. Ed smiles. He gives her a long look. They both smile a little awkwardly. Take a beat. Then: She flicks on the lights. Brenda's desk is decorated and as a present on it. Erin's is empty. Erin shakes her head. She's surprised by how hurt she is. George looks over at her, sees her eyes glisten a little. He goes over to her, wraps his arms around her. He kisses her. She leans into him. He kisses her some more. She kisses back. She's gonna let | Who gives Erin the documents? | Charles Embry. |
motorcycle helmet, to leave, she's hit with a wave of regret. There's a KNOCK at the door, and Ed enters. George looks at him. Not interested in her apologies. And Erin watches George leave the room, then turns to Ed. But his mind's made up. He stands to leave. She climbs up on an old wagon for a better view. Agreeing MURMURS ripple through the crowd. Potter turns around and looks at Ed seated behind him. The GRUMBLE of discontent has overtaken the room. More whispering, more movement. Ted Daniels gets up from his seat. He drops his agreement form, unsigned, then takes Rita's hand and heads for the door. She thinks for a moment, then gets an idea. She picks up a release form, and leaves the firehouse. As the kids wander toward the bathroom, Erin picks up the phone and dials. RING, RING. He takes it, glances toward the motel room. She hands him a wad of cash. He nods. She gets into her car. Before closing the door, she turns back to him. She sees how mad she's made him. Takes a beat. George softens, shifts. He steps toward the truck and gently closes her door, so he's standing close to her. He thinks about this. Finally: He smiles back at her, nods, then tenderly brushes a piece of hair out of her eyes. He nods, understanding. Then he taps the side of her truck and turns toward the motel room. She puts the truck in gear and pulls out. Erin forces herself awake. He picks up Beth, takes Katie's hand, and calls across the room to Matthew. Erin turns to see Matthew holding one of her release forms. But he's reading it. and puts his head in his hands. He sits like that for a moment, GROANS to himself. Then he pushes himself up and heads over to his door. When he opens it, he finds Erin still standing there, exactly where he left her, arms crossed. She hasn't budged. Ed pauses, groans again, realizing what decision he's making. She smiles victoriously. He heads back to his desk. Erin follows him into his office. He gives her a look. Knows what's coming. Matthew and Katie fan out into the store. Erin keeps messing with the phone. Erin looks over at him, weary. And she walks away from him. As Erin labels the containers, her heels slide down the side of the ditch, and she lands smack in it, knee-deep in gunk. She adds them to a growing collection of containers in the trunk of her car. Erin spots a few dead frogs in the water. She picks one up by the leg, and seals it in a plastic bag as well. ON THE REPORTS: We catch a few words: "water sample A ...", "soil sample D ...", "frog sample A ...", "... traces of hexavalent ..." Brenda looks at Erin and sees her hem rising in the back. Erin turns to Brenda, relishing the chance to irritate her. Ed, in his office, laughs. He's starting to like this gal. His voice is flat, creepy. Not friendly. CLICK. Erin stares at the phone, freaked. She goes to the living room, double-checks the window locks in there. George follows. She heads into the bedrooms. George reacts, a little stung. He follows her into: She gives him a glare, then leaves the room. Ross is speechless. He just stands there. Erin drags as she opens her car door and gets in. ED MASRY, senior partner, slumps by ROSALIND, his chipper receptionist, with a cup of coffee in his hand. He's in his mid-50's, compact and -- even though it's only 9 AM -- already rumpled. Whatever passion he once had for the personal injury law that is his career has long since dissipated. He trundles off toward his office. He grabs a gift-wrapped bottle off her desk, reads the card. Ed peers into his office. It's a mess -- papers everywhere, unopened mail. Standing in the middle of the room is Erin, in a teensy, leopard-print mini-dress. As she jiggles a spike-heeled foot, everything about her shimmies gloriously. Except her head, which is held in place by a neck brace. As Ed heads into his office, Brenda picks up the phone. He clears a stack of papers off a chair. Ed gives her a look of pro-forma sympathy. He takes out a pad and paper, gets ready to write. She glances at the defendant's table, where a DOCTOR sits nobly in surgical scrubs. His WIFE and two beautiful KIDS are behind him. A frigging Norman Rockwell painting. Erin looks over at the jury. The personification of conservative family values. Oh, shit. Erin sees a juror staring judgmentally at her short hem. Erin gives it a tug, pulling it down a stitch. Erin sees a few jurors share dubious glances. Great. Ed shakes his head slightly to her -- don't get mad. Erin sees jurors nodding almost imperceptibly in agreement. She's on a sinking ship. Ed notices her ranting is starting to draw attention. Erin turns away from him and heads for the stairway. Erin gets out, takes the mail from her mailbox, room. Not a whole lot of options here. He looks back at Erin. Erin shakes her head, no. Great, thinks Anna. He turns, sees her. Ed looks at her a moment, sees that it's far from okay. He takes out his wallet, looks in. He slaps a hundred in her hand and leaves. When he's gone, she looks at the bill -- her life raft -- and gives it a great big kiss. But of course he can't hear her. She walks over to him, stands right in his line of vision. The guys on the porch chuckle. Erin turns and starts back to her house. George hops off his bike and follows her. Erin shakes her head in disbelief and keeps walking. She stops at her porch, turns to him. She turns and heads inside. He calls out after her: The women go back to stirring their coffees. Erin walks on. Ed appears in the door, carrying the box of files. He plunks the box of files on her desk. She stares at it, with no idea of how to go about that. He sees her staring at the box. Ed heads out, but pauses before leaving. As she wipes the bug guts off the bottom of her shoe: She spots George on his stoop, with a six-pack beside him. He gets up and follows her to her house. Erin turns to him. The kids are waiting at the door. George reaches out and grabs the box from under her arm. He's got a point there. After a beat: Erin comes in from the kitchen. They get up ... ... and head into bed. George starts cleaning up the cards. Erin bends down to help him. She George reaches in his pocket, finds her pacifier. As he's leaning down to give it to her, he hears a RUMBLE coming down the street behind him. The roar grows. He stands, looks. A GROUP OF ABOUT TEN BIKERS has pulled up next to him. He looks at them. They look at him, then at the stroller. George feels ridiculous. When the light changes, the bikers REV LOUDLY and pull out. George just stands there and watches them go. Erin is up at the map, eating Chinese food. She bites into a forkful of food, keeps talking. She reaches for a document, reads from it. In response to the insinuation, Erin gives him a glare. Suddenly, her eyes pop out of her head -- Tears spring to her eyes. She fans furiously at her mouth. Ed finds the tequila from the client and hands it to her. She takes a swig. There's a nanosecond of relief ... until the tequila hits. Her eyes redden. She spews and gasps. He gets up, grabs his trash can, and moves around the room with it, cleaning up all the Chinese food cartons. She doesn't have one. Beat. Ed smiles. He gives her a long look. They both smile a little awkwardly. Take a beat. Then: She flicks on the lights. Brenda's desk is decorated and as a present on it. Erin's is empty. Erin shakes her head. She's surprised by how hurt she is. George looks over at her, sees her eyes glisten a little. He goes over to her, wraps his arms around her. He kisses her. She leans into him. He kisses her some more. She kisses back. She's gonna let | What killed Charles' cousin? | The poisin in the contamination. |
huge smile of appreciation slowly spreads across Ed's face. Erin hands Ed a manila envelope. He opens it. Potter and Theresa reel. Ed shakes his head in disbelief. And she struts out of the room, leaving everyone slack-jawed. The CLIP CLIP CLIP of her heels carry her away. Erin puts her hand in the door, keeping it from closing. He stares at her, in awe. He looks down the hall at her, standing so tall and proud in the elevator. He walks toward her, stops right outside the elevator. Of course she will. She releases her hand so he won't see her smiling. Ed watches the doors close. Erin's Chevy moves up the PCH. DISCO music emanates from it. Donna turns, sees her. Smiles. Erin sits down on a rock. Donna sits down next to her. Tears of vindication spring to Donna's eyes. She reels. After a breathless beat: Donna wipes the tears off her face, then watches the light flickering off her girls playing in the surf. Donna is overwhelmed. Erin pulls her close. She lost them. Her reaction indicates this isn't the first time. The front doors open and Erin enters. Erin heads on down a hall to: He reaches into his breast pocket, pulls out a check. Hands it to her. Erin does. Looks at it. Her eyes bug out. She stares at it, speechless. He goes back to unpacking and puts his head in his hands. He sits like that for a moment, GROANS to himself. Then he pushes himself up and heads over to his door. When he opens it, he finds Erin still standing there, exactly where he left her, arms crossed. She hasn't budged. Ed pauses, groans again, realizing what decision he's making. She smiles victoriously. He heads back to his desk. Erin follows him into his office. He gives her a look. Knows what's coming. Matthew and Katie fan out into the store. Erin keeps messing with the phone. Erin looks over at him, weary. And she walks away from him. As Erin labels the containers, her heels slide down the side of the ditch, and she lands smack in it, knee-deep in gunk. She adds them to a growing collection of containers in the trunk of her car. Erin spots a few dead frogs in the water. She picks one up by the leg, and seals it in a plastic bag as well. ON THE REPORTS: We catch a few words: "water sample A ...", "soil sample D ...", "frog sample A ...", "... traces of hexavalent ..." Brenda looks at Erin and sees her hem rising in the back. Erin turns to Brenda, relishing the chance to irritate her. Ed, in his office, laughs. He's starting to like this gal. His voice is flat, creepy. Not friendly. CLICK. Erin stares at the phone, freaked. She goes to the living room, double-checks the window locks in there. George follows. She heads into the bedrooms. George reacts, a little stung. He follows her into: She gives him a glare, then leaves the room. Ross is speechless. He just stands there. Erin drags George reaches in his pocket, finds her pacifier. As he's leaning down to give it to her, he hears a RUMBLE coming down the street behind him. The roar grows. He stands, looks. A GROUP OF ABOUT TEN BIKERS has pulled up next to him. He looks at them. They look at him, then at the stroller. George feels ridiculous. When the light changes, the bikers REV LOUDLY and pull out. George just stands there and watches them go. Erin is up at the map, eating Chinese food. She bites into a forkful of food, keeps talking. She reaches for a document, reads from it. In response to the insinuation, Erin gives him a glare. Suddenly, her eyes pop out of her head -- Tears spring to her eyes. She fans furiously at her mouth. Ed finds the tequila from the client and hands it to her. She takes a swig. There's a nanosecond of relief ... until the tequila hits. Her eyes redden. She spews and gasps. He gets up, grabs his trash can, and moves around the room with it, cleaning up all the Chinese food cartons. She doesn't have one. Beat. Ed smiles. He gives her a long look. They both smile a little awkwardly. Take a beat. Then: She flicks on the lights. Brenda's desk is decorated and as a present on it. Erin's is empty. Erin shakes her head. She's surprised by how hurt she is. George looks over at her, sees her eyes glisten a little. He goes over to her, wraps his arms around her. He kisses her. She leans into him. He kisses her some more. She kisses back. She's gonna let checks the piece of paper with Donna's address, she drives by the PG&E COMPRESSOR STATION, a massive gray structure of pipes, chimneys and ladders, set way back from the road. Erin passes it without noticing it. She stops at an intersection. The house on the corner has been boarded up with plywood. Erin notices it -- depressing -- then turns the corner onto Donna's street. The Hyundai pulls into the driveway and stops. Erin gets out. As she heads up to the door, her spike heels sink into the dirt. She rings the bell. It has a melody chime. DONNA IRVING opens the door. She's 35, petite, with a scrappy, high-strung manner. She's wearing tight jeans, and her dark curls are piled on top of her head. She comes out from the kitchen with a tray of iced tea. Donna corrects the positioning on a couple of pillows. This would be the perfect opportunity for many to get self- pitying. But not Donna. Life's handed her a shitload of lemons, and darned if she hasn't made a shitload of lemonade. Donna tops off their iced teas. WIDEN to see Donna pulling the box down into the room. She rifles through the box. She hands Erin a printed fact sheet. Erin scans it. She gets to an intersection and looks across the street at the massive COMPRESSOR STATION. Six stories high, lit up like a Christmas tree, with all sizes of PIPES criss-crossing the outside and GIANT COOLING TOWERS sticking up out of it. Far more massive than anything else in town, it looms over the horizon like the Capitol in D.C. or St. Peter's in Rome. Erin takes a long look at the compressor station, then turns as she opens her car door and gets in. ED MASRY, senior partner, slumps by ROSALIND, his chipper receptionist, with a cup of coffee in his hand. He's in his mid-50's, compact and -- even though it's only 9 AM -- already rumpled. Whatever passion he once had for the personal injury law that is his career has long since dissipated. He trundles off toward his office. He grabs a gift-wrapped bottle off her desk, reads the card. Ed peers into his office. It's a mess -- papers everywhere, unopened mail. Standing in the middle of the room is Erin, in a teensy, leopard-print mini-dress. As she jiggles a spike-heeled foot, everything about her shimmies gloriously. Except her head, which is held in place by a neck brace. As Ed heads into his office, Brenda picks up the phone. He clears a stack of papers off a chair. Ed gives her a look of pro-forma sympathy. He takes out a pad and paper, gets ready to write. She glances at the defendant's table, where a DOCTOR sits nobly in surgical scrubs. His WIFE and two beautiful KIDS are behind him. A frigging Norman Rockwell painting. Erin looks over at the jury. The personification of conservative family values. Oh, shit. Erin sees a juror staring judgmentally at her short hem. Erin gives it a tug, pulling it down a stitch. Erin sees a few jurors share dubious glances. Great. Ed shakes his head slightly to her -- don't get mad. Erin sees jurors nodding almost imperceptibly in agreement. She's on a sinking ship. Ed notices her ranting is starting to draw attention. Erin turns away from him and heads for the stairway. Erin gets out, takes the mail from her mailbox, | Who was Erin's boss? | Ed. |
chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy fight with Cole is in perfect sync with the actors in the movie. Rick hits Cole with a punch that sends him backwards into several movie patrons. The patrons are impressed by the realism of the film's special effects. Cole throws a punch. Rick ducks. The punch hits a MAN in the front row in the mouth. Rick climbs over several rows and continues to pummel Cole. Cole grabs a woman's purse and begins to hit Rick with it. Cole runs out of the aisle as Rick climbs over people and dives onto Cole, knocking him to the aisle. As the movie ends, Rick has Cole by the collar and is dragging him out of the theater. The Patrons are exiting. All of them are very up and excited by their 3D experience. A Man who has taken a punch and has had his jacket ripped to shreds doesn't seem pleased. The many guests are seated and taken in the moment. Among these are Tracey, Desiree and Gary's she-man, who waves to Gary as he stands with the other ushers, Chulo, Ryko and Larry. Chulo is choked up and trying to hide his tears. He looks over at Laverne, who smiles to him. Nearby stand the maids of honor, Bobbie, Phoebie and Ilene, who blows a kiss to her date, Ray (one of the Japanese businessmen). The Thomersons sit in the front row. Neither of them is cherishing this moment. They sort of smile at each other at the thought. Father Falwell is almost through with the ceremony. A car pulls up in the b.g. Exiting the car is Stan and a WOMAN. O'Neill, the best man, sees the car. He pokes Rick. He indicates to Rick someone has arrived. Larry looks to Rick and gives him a warm smile and a wave. Rick acknowledges Larry. They walk off. Now it starts to rain. People begin to scurry for cover. In the b.g., under a tree, we SEE Larry and his wife huddled in each other's arms. From the way they look, they have worked things out. He begins to sing the theme from "The Flintstones" with all the gusto of Jack Jones. Father Falwell has had enough. He blesses them lightning fast and springs for his car. Everyone has run for the safety of their cars. Everyone but the Thomersons, who sit and look on bewildered. | What does Rick Gassko do for a living? | He is a school bus driver. |
chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's tub, leaving Larry high and dry. He lifts his head out of the tub. In his state, he's unaware that the water is gone. He gasps for air as Rick holds him up. Larry takes a deep breath and plunges his head into the tub. His head hits the waterless tub bottom with a loud THUD. He goes limp from the concussion. His body drapes into the tub, head first. Larry gets up and exits the room. PUSH IN ON Rick. He looks after Larry, concerned. Looking over into the next booth, he sees Thomerson's back. He slams the phone down and EXITS SCREEN RIGHT. Cole starts to exit left when he spots Chulo getting into the elevator. The elevator doors slam shut. Cole races out into the street. CAMERA PANS as he charges to his Porsche. His pride and joy has now, thanks to Chulo, been customized into a Chicano special. It's chopped and channeled; dingleberries rim the back window, flames have been painted on the rear fender; a chain steering wheel, fuzzy dashboard, dice hanging from the mirror. A real East L.A. beauty. He looks out the window and sees Cole standing next to his transformed Porsche. He grabs Rick by the arm and leads him out of the room. Waiter acknowledges he's got it and exits. O'Neill joins Rick. O'Neill leads Rick to the table the Bellhop pointed out. They sit down. Immediately O'Neill takes some cash from his pocket and holds it under the table. The Hooker has begun to do what she does best. And Rick loves it. Rick tries to maintain his dignity. But from under the table a blue ribbon job is being applied to his fun zone. Falwell shakes Rick's hand. Rick hangs on for dear life. Pumping the hand up and dancers, enters carrying a tray of food. Nick is a muscled hunk. Nick drops his pants. Since he's being SHOT only from the WAIST UP, we can't see what the guys see. Nick holds the tray waist high. Rick arranges the food. Michael hands Rick a hot dog bun. Rick places it on the tray. He turns to Nick. He exits. As he does, our guys crowd around and peek through the kitchen door. The girls grab their orders. Mrs. T. is last. Hers is the hot dog. She points to it. Mrs. T. grabs the hot dog. It won't come off the tray. She yanks harder. Nick drops the tray and Mrs. T. finally comes to realize what she is pulling on. She screams in terror. Because of sheer fright, she can't seem to drop Nick's schlong from her grip. The rest of our ladies look to see Mrs. T. 's hot dog. They scream in shock. Debbie spits out her marguerita, hitting Phoebe in the face. She gestures to a MAN with his back TO US. The PIMP turns around and we SEE he is the stereotypical pimp. One big difference: he's an Indian straight from the streets of Calcutta. He's soft-spoken and ever smiling and he still hasn't quite mastered English. Milt casually takes off his hat and immediately sticks his face through a nearby window, smashing it to pieces. He pulls his head out, smiles and puts his hat back on. Gary extends his hand and they shake. Rick crosses to the bathroom door, opens it and goes in. Larry comes out of the water. He gasps for breath and speaks. He takes a deep breath and submerges his head again. Rick unplugs the tub and it begins to drain. The water has drained from the | Who does Debbie Thompson's father enlist to break her and Rick up? | Debbie's ex-boyfriend Cole Whittier |
man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in dancers, enters carrying a tray of food. Nick is a muscled hunk. Nick drops his pants. Since he's being SHOT only from the WAIST UP, we can't see what the guys see. Nick holds the tray waist high. Rick arranges the food. Michael hands Rick a hot dog bun. Rick places it on the tray. He turns to Nick. He exits. As he does, our guys crowd around and peek through the kitchen door. The girls grab their orders. Mrs. T. is last. Hers is the hot dog. She points to it. Mrs. T. grabs the hot dog. It won't come off the tray. She yanks harder. Nick drops the tray and Mrs. T. finally comes to realize what she is pulling on. She screams in terror. Because of sheer fright, she can't seem to drop Nick's schlong from her grip. The rest of our ladies look to see Mrs. T. 's hot dog. They scream in shock. Debbie spits out her marguerita, hitting Phoebe in the face. She gestures to a MAN with his back TO US. The PIMP turns around and we SEE he is the stereotypical pimp. One big difference: he's an Indian straight from the streets of Calcutta. He's soft-spoken and ever smiling and he still hasn't quite mastered English. Milt casually takes off his hat and immediately sticks his face through a nearby window, smashing it to pieces. He pulls his head out, smiles and puts his hat back on. Gary extends his hand and they shake. Rick crosses to the bathroom door, opens it and goes in. Larry comes out of the water. He gasps for breath and speaks. He takes a deep breath and submerges his head again. Rick unplugs the tub and it begins to drain. The water has drained from the | How does Debbie and her friends get even with Rick and his friends? | They have a party of their own |
Neal Israel & Pat Proft Sister Mary Francis checks her watch. She scowls and looks out past the parking lot gate. Suddenly we HEAR the SOUND of an ENGINE roaring at full throttle. There is a SCREECHING of BRAKES, followed by the loud GRINDING of GEARS. It sounds like the Indy 500 is taking place around the corner. While chronologically older than the St. Luke students, the only thing that sets him apart from them is that he has a driver's license. Rick figures he'll live up to his capabilities and get serious in his next life... This incarnation's strictly for laughs. Sister Mary Francis steps up to him. He starts sobbing softly into his hands. The kids obediently file past Rick, who makes like he is drying his tears with his handkerchief. He hops on the bus, closes the door and gently backs the bus out of the parking lot. The kids pay no attention to him. He takes the picture and we SEE the camera flash. She smiles and exits. A beautiful -- and we're talking gorgeous -- WOMAN enters. Her clothes hug every curve of her body. She has her baby in her arms. O'Neill immediately wants her, and now. His eyes settle onto her full breasts. These he likes. She gets this innuendo and loves it. He takes the baby. He has a hard time taking his eyes off her breasts. He places the baby on the blanket. She coyly leans INTO FRAME. She is totally blocking her baby out of the picture. She starts to unbutton her blouse. O'Neill looks into his camera. As she complies, her breasts all but spill out of her dress. O'Neill crosses to his camera and takes out the film. A SMALL MECHANIC with an eye patch gets into a that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in | What does Rick have to keep stopping Brad from doing? | Committing suicide |
man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's the frying pans. He douses it with water. Rick grabs her; starts kissing her passionately on the neck. He grabs her. They kiss and slide down onto the table, knocking the dishes to the floor. CAMERA PANS WITH Debbie as she enters the room. She passes several trophies, guns and stuffed animal heads hanging from the wall. She makes her way past some sections of an undetermined animal's anatomy hanging from hooks suspended from the ceiling. Finally we see COLE WHITTIER, a Steve Garvey look-alike... rugged all-American, and heir to the Whittier Plastic Wrap fortune. Despite his jockish good looks and outward arrogance, there's something in his manner that is definitely unsavory. As Debbie approaches him we SEE that he is butchering some unfortunate friend of the forest on the table in front of him. (NOTE: For the squeamish, all of this is done OUT OF FRAME. The only thing we should HEAR are the delightful SOUNDS of TAXIDERMY.) Debbie tries her best not to look down at what he's doing. Cole stops what he is doing for a beat and just stares at Debbie intensely. Then he returns to his work with a renewed enthusiasm, chopping, slashing and slicing. Debbie exits and we PUSH IN ON Cole. Something on his face says, "Hi! I'm really out of my mind." He crosses to a sterile container and takes out a syringe. Just then, Stan sticks the needle in his arm. Stan removes the needle and hands Rick a cotton ball. CAMERA FOLLOWS them as they go out into the hall. They pass an open examining room. Stan's wife, TINA, is also a doctor and is examining an old man. She's not as tiny as her name suggests. In face, she's more like over-sized. Rick moves to hug her and he chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in | What happens when the bachelor party and bachelorette party meet? | The go to a hotel to have one big drunken orgy |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in he does, he grabs a hanger out of the closet. They back away from the window. All the guys treat this as if it's "Let's Make A Deal". They take sides, yelling out, "Take the car," "Keep Debbie." Over the din we hear a befuddled Rick. He walks over to the window. Cole follows closely. He's trying to convince Rick to take the car. As he looks out the window we see with him that his car is gone. He charges out of the room. Jumbo has had enough. He backs Gary against a wall and pulls a knife on him. Gary hurriedly digs into his pockets and gives Jumbo his money. He snaps his fingers and TWO of his LADIES come forward. The girls walk over to Gary and proceed to beat the crap out of him. The girls giggle as they enter the place, with Mrs. Thomerson following reluctantly behind. They head for some empty tables. Debbie notices her mother is still standing transfixed by the MAN on display on stage. Debbie grabs her by the shoulder. On the way to the table they pass MICHAEL, the bartender, who looks at them and immediately recognizes Debbie. Finding this interesting, he picks up a phone and dials. The guys take out money. Larry stands and digs into his pocket for his wallet. Along with the wallet comes dozens of pills. The PHONE RINGS. Rick picks up the receiver. He hangs up the phone. Gary, meantime, has collected his money. The guys start toward the door. As Larry slumps on the couch, the guys exit. He enters a phone booth and starts to dial. He crosses with executive toward the ballroom. They exit into ballroom. He joins the other guys. The guys shout approval as NICK, one of the male | What happens to Debbie when the police raid the party? | Cole kidnaps Debbie |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy tub, leaving Larry high and dry. He lifts his head out of the tub. In his state, he's unaware that the water is gone. He gasps for air as Rick holds him up. Larry takes a deep breath and plunges his head into the tub. His head hits the waterless tub bottom with a loud THUD. He goes limp from the concussion. His body drapes into the tub, head first. Larry gets up and exits the room. PUSH IN ON Rick. He looks after Larry, concerned. Looking over into the next booth, he sees Thomerson's back. He slams the phone down and EXITS SCREEN RIGHT. Cole starts to exit left when he spots Chulo getting into the elevator. The elevator doors slam shut. Cole races out into the street. CAMERA PANS as he charges to his Porsche. His pride and joy has now, thanks to Chulo, been customized into a Chicano special. It's chopped and channeled; dingleberries rim the back window, flames have been painted on the rear fender; a chain steering wheel, fuzzy dashboard, dice hanging from the mirror. A real East L.A. beauty. He looks out the window and sees Cole standing next to his transformed Porsche. He grabs Rick by the arm and leads him out of the room. Waiter acknowledges he's got it and exits. O'Neill joins Rick. O'Neill leads Rick to the table the Bellhop pointed out. They sit down. Immediately O'Neill takes some cash from his pocket and holds it under the table. The Hooker has begun to do what she does best. And Rick loves it. Rick tries to maintain his dignity. But from under the table a blue ribbon job is being applied to his fun zone. Falwell shakes Rick's hand. Rick hangs on for dear life. Pumping the hand up and | Where do Rick and Cole fight? | In the movie theater |
Neal Israel & Pat Proft Sister Mary Francis checks her watch. She scowls and looks out past the parking lot gate. Suddenly we HEAR the SOUND of an ENGINE roaring at full throttle. There is a SCREECHING of BRAKES, followed by the loud GRINDING of GEARS. It sounds like the Indy 500 is taking place around the corner. While chronologically older than the St. Luke students, the only thing that sets him apart from them is that he has a driver's license. Rick figures he'll live up to his capabilities and get serious in his next life... This incarnation's strictly for laughs. Sister Mary Francis steps up to him. He starts sobbing softly into his hands. The kids obediently file past Rick, who makes like he is drying his tears with his handkerchief. He hops on the bus, closes the door and gently backs the bus out of the parking lot. The kids pay no attention to him. He takes the picture and we SEE the camera flash. She smiles and exits. A beautiful -- and we're talking gorgeous -- WOMAN enters. Her clothes hug every curve of her body. She has her baby in her arms. O'Neill immediately wants her, and now. His eyes settle onto her full breasts. These he likes. She gets this innuendo and loves it. He takes the baby. He has a hard time taking his eyes off her breasts. He places the baby on the blanket. She coyly leans INTO FRAME. She is totally blocking her baby out of the picture. She starts to unbutton her blouse. O'Neill looks into his camera. As she complies, her breasts all but spill out of her dress. O'Neill crosses to his camera and takes out the film. A SMALL MECHANIC with an eye patch gets into a that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy them and stops in front of them. He stares at them strangely, looking from face to face. To the guys' surprise, he goes around hugging each one of them. They start walking toward the baggage claim area. Larry stops walking and immediately breaks down. Larry reaches into his pocket, takes out a Quaalude. He pops it in his mouth. Before Larry can answer they reach the bus where Debbie is waiting for them. As a couple of the guys pick Larry up and carry him into the bus we He opens the door, picks Debbie up and carries her out to the sidewalk. She grabs Rick and wraps her arm around him in a playful headlock. Debbie lets go of his neck. They kiss, and the guys whistle in the background. Then Debbie starts toward the house and Rick hops back into the bus. He gets into the seat and sits there for a moment, watching Debbie with a guilty look as she goes into the house. The guys holler and whoop it up as Rick puts the bus in gear and takes off down the street. Gary takes out a roll of bills, which Jumbo grabs and quickly counts. Two shapely HOOKERS in tight-fitting clothes come up to them. The girls look at him with "Is he for real?" in their eyes. Gary takes some slips of paper out of his pocket and hands Jumbo one. Gary turns, almost collides with a garbage can, and starts walking down the street. He passes a parked Porsche. After a beat, Cole Whittier sticks his head up and watches Gary walk off. Then he hops out of his car and approaches Jumbo and the girls. Cole's face lights up. This is the information he needed. He takes out a fifty-dollar bill. Cole | Who drives Rick and Debbie to the airport? | Brad |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any dancers, enters carrying a tray of food. Nick is a muscled hunk. Nick drops his pants. Since he's being SHOT only from the WAIST UP, we can't see what the guys see. Nick holds the tray waist high. Rick arranges the food. Michael hands Rick a hot dog bun. Rick places it on the tray. He turns to Nick. He exits. As he does, our guys crowd around and peek through the kitchen door. The girls grab their orders. Mrs. T. is last. Hers is the hot dog. She points to it. Mrs. T. grabs the hot dog. It won't come off the tray. She yanks harder. Nick drops the tray and Mrs. T. finally comes to realize what she is pulling on. She screams in terror. Because of sheer fright, she can't seem to drop Nick's schlong from her grip. The rest of our ladies look to see Mrs. T. 's hot dog. They scream in shock. Debbie spits out her marguerita, hitting Phoebe in the face. She gestures to a MAN with his back TO US. The PIMP turns around and we SEE he is the stereotypical pimp. One big difference: he's an Indian straight from the streets of Calcutta. He's soft-spoken and ever smiling and he still hasn't quite mastered English. Milt casually takes off his hat and immediately sticks his face through a nearby window, smashing it to pieces. He pulls his head out, smiles and puts his hat back on. Gary extends his hand and they shake. Rick crosses to the bathroom door, opens it and goes in. Larry comes out of the water. He gasps for breath and speaks. He takes a deep breath and submerges his head again. Rick unplugs the tub and it begins to drain. The water has drained from the helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in | What does Brad use to try to slit his own wrists? | An electric razor |
Neal Israel & Pat Proft Sister Mary Francis checks her watch. She scowls and looks out past the parking lot gate. Suddenly we HEAR the SOUND of an ENGINE roaring at full throttle. There is a SCREECHING of BRAKES, followed by the loud GRINDING of GEARS. It sounds like the Indy 500 is taking place around the corner. While chronologically older than the St. Luke students, the only thing that sets him apart from them is that he has a driver's license. Rick figures he'll live up to his capabilities and get serious in his next life... This incarnation's strictly for laughs. Sister Mary Francis steps up to him. He starts sobbing softly into his hands. The kids obediently file past Rick, who makes like he is drying his tears with his handkerchief. He hops on the bus, closes the door and gently backs the bus out of the parking lot. The kids pay no attention to him. He takes the picture and we SEE the camera flash. She smiles and exits. A beautiful -- and we're talking gorgeous -- WOMAN enters. Her clothes hug every curve of her body. She has her baby in her arms. O'Neill immediately wants her, and now. His eyes settle onto her full breasts. These he likes. She gets this innuendo and loves it. He takes the baby. He has a hard time taking his eyes off her breasts. He places the baby on the blanket. She coyly leans INTO FRAME. She is totally blocking her baby out of the picture. She starts to unbutton her blouse. O'Neill looks into his camera. As she complies, her breasts all but spill out of her dress. O'Neill crosses to his camera and takes out the film. A SMALL MECHANIC with an eye patch gets into a that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in | What happens when the girl gets punched at the theater? | That it was an effect from the 3d movie |
Neal Israel & Pat Proft Sister Mary Francis checks her watch. She scowls and looks out past the parking lot gate. Suddenly we HEAR the SOUND of an ENGINE roaring at full throttle. There is a SCREECHING of BRAKES, followed by the loud GRINDING of GEARS. It sounds like the Indy 500 is taking place around the corner. While chronologically older than the St. Luke students, the only thing that sets him apart from them is that he has a driver's license. Rick figures he'll live up to his capabilities and get serious in his next life... This incarnation's strictly for laughs. Sister Mary Francis steps up to him. He starts sobbing softly into his hands. The kids obediently file past Rick, who makes like he is drying his tears with his handkerchief. He hops on the bus, closes the door and gently backs the bus out of the parking lot. The kids pay no attention to him. He takes the picture and we SEE the camera flash. She smiles and exits. A beautiful -- and we're talking gorgeous -- WOMAN enters. Her clothes hug every curve of her body. She has her baby in her arms. O'Neill immediately wants her, and now. His eyes settle onto her full breasts. These he likes. She gets this innuendo and loves it. He takes the baby. He has a hard time taking his eyes off her breasts. He places the baby on the blanket. She coyly leans INTO FRAME. She is totally blocking her baby out of the picture. She starts to unbutton her blouse. O'Neill looks into his camera. As she complies, her breasts all but spill out of her dress. O'Neill crosses to his camera and takes out the film. A SMALL MECHANIC with an eye patch gets into a chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in | Who did Rick end up marrying? | His girlfriend Debbie Thompson. |
Neal Israel & Pat Proft Sister Mary Francis checks her watch. She scowls and looks out past the parking lot gate. Suddenly we HEAR the SOUND of an ENGINE roaring at full throttle. There is a SCREECHING of BRAKES, followed by the loud GRINDING of GEARS. It sounds like the Indy 500 is taking place around the corner. While chronologically older than the St. Luke students, the only thing that sets him apart from them is that he has a driver's license. Rick figures he'll live up to his capabilities and get serious in his next life... This incarnation's strictly for laughs. Sister Mary Francis steps up to him. He starts sobbing softly into his hands. The kids obediently file past Rick, who makes like he is drying his tears with his handkerchief. He hops on the bus, closes the door and gently backs the bus out of the parking lot. The kids pay no attention to him. He takes the picture and we SEE the camera flash. She smiles and exits. A beautiful -- and we're talking gorgeous -- WOMAN enters. Her clothes hug every curve of her body. She has her baby in her arms. O'Neill immediately wants her, and now. His eyes settle onto her full breasts. These he likes. She gets this innuendo and loves it. He takes the baby. He has a hard time taking his eyes off her breasts. He places the baby on the blanket. She coyly leans INTO FRAME. She is totally blocking her baby out of the picture. She starts to unbutton her blouse. O'Neill looks into his camera. As she complies, her breasts all but spill out of her dress. O'Neill crosses to his camera and takes out the film. A SMALL MECHANIC with an eye patch gets into a fight with Cole is in perfect sync with the actors in the movie. Rick hits Cole with a punch that sends him backwards into several movie patrons. The patrons are impressed by the realism of the film's special effects. Cole throws a punch. Rick ducks. The punch hits a MAN in the front row in the mouth. Rick climbs over several rows and continues to pummel Cole. Cole grabs a woman's purse and begins to hit Rick with it. Cole runs out of the aisle as Rick climbs over people and dives onto Cole, knocking him to the aisle. As the movie ends, Rick has Cole by the collar and is dragging him out of the theater. The Patrons are exiting. All of them are very up and excited by their 3D experience. A Man who has taken a punch and has had his jacket ripped to shreds doesn't seem pleased. The many guests are seated and taken in the moment. Among these are Tracey, Desiree and Gary's she-man, who waves to Gary as he stands with the other ushers, Chulo, Ryko and Larry. Chulo is choked up and trying to hide his tears. He looks over at Laverne, who smiles to him. Nearby stand the maids of honor, Bobbie, Phoebie and Ilene, who blows a kiss to her date, Ray (one of the Japanese businessmen). The Thomersons sit in the front row. Neither of them is cherishing this moment. They sort of smile at each other at the thought. Father Falwell is almost through with the ceremony. A car pulls up in the b.g. Exiting the car is Stan and a WOMAN. O'Neill, the best man, sees the car. He pokes Rick. He indicates to Rick someone has arrived. Larry looks to Rick and gives him a warm smile and a wave. Rick acknowledges Larry. They walk off. Now it starts to rain. People begin to scurry for cover. In the b.g., under a tree, we SEE Larry and his wife huddled in each other's arms. From the way they look, they have worked things out. He begins to sing the theme from "The Flintstones" with all the gusto of Jack Jones. Father Falwell has had enough. He blesses them lightning fast and springs for his car. Everyone has run for the safety of their cars. Everyone but the Thomersons, who sit and look on bewildered. that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy | What did Debbie's dad decide to do to try and break up Rick and Debbie? | He solicited the help of Cole Whittier, Debbie's ex-boyfriend to try and win Debbie back. |
chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in tub, leaving Larry high and dry. He lifts his head out of the tub. In his state, he's unaware that the water is gone. He gasps for air as Rick holds him up. Larry takes a deep breath and plunges his head into the tub. His head hits the waterless tub bottom with a loud THUD. He goes limp from the concussion. His body drapes into the tub, head first. Larry gets up and exits the room. PUSH IN ON Rick. He looks after Larry, concerned. Looking over into the next booth, he sees Thomerson's back. He slams the phone down and EXITS SCREEN RIGHT. Cole starts to exit left when he spots Chulo getting into the elevator. The elevator doors slam shut. Cole races out into the street. CAMERA PANS as he charges to his Porsche. His pride and joy has now, thanks to Chulo, been customized into a Chicano special. It's chopped and channeled; dingleberries rim the back window, flames have been painted on the rear fender; a chain steering wheel, fuzzy dashboard, dice hanging from the mirror. A real East L.A. beauty. He looks out the window and sees Cole standing next to his transformed Porsche. He grabs Rick by the arm and leads him out of the room. Waiter acknowledges he's got it and exits. O'Neill joins Rick. O'Neill leads Rick to the table the Bellhop pointed out. They sit down. Immediately O'Neill takes some cash from his pocket and holds it under the table. The Hooker has begun to do what she does best. And Rick loves it. Rick tries to maintain his dignity. But from under the table a blue ribbon job is being applied to his fun zone. Falwell shakes Rick's hand. Rick hangs on for dear life. Pumping the hand up and | What did Debbie accuse Rick of? | Infidelity. |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in fight with Cole is in perfect sync with the actors in the movie. Rick hits Cole with a punch that sends him backwards into several movie patrons. The patrons are impressed by the realism of the film's special effects. Cole throws a punch. Rick ducks. The punch hits a MAN in the front row in the mouth. Rick climbs over several rows and continues to pummel Cole. Cole grabs a woman's purse and begins to hit Rick with it. Cole runs out of the aisle as Rick climbs over people and dives onto Cole, knocking him to the aisle. As the movie ends, Rick has Cole by the collar and is dragging him out of the theater. The Patrons are exiting. All of them are very up and excited by their 3D experience. A Man who has taken a punch and has had his jacket ripped to shreds doesn't seem pleased. The many guests are seated and taken in the moment. Among these are Tracey, Desiree and Gary's she-man, who waves to Gary as he stands with the other ushers, Chulo, Ryko and Larry. Chulo is choked up and trying to hide his tears. He looks over at Laverne, who smiles to him. Nearby stand the maids of honor, Bobbie, Phoebie and Ilene, who blows a kiss to her date, Ray (one of the Japanese businessmen). The Thomersons sit in the front row. Neither of them is cherishing this moment. They sort of smile at each other at the thought. Father Falwell is almost through with the ceremony. A car pulls up in the b.g. Exiting the car is Stan and a WOMAN. O'Neill, the best man, sees the car. He pokes Rick. He indicates to Rick someone has arrived. Larry looks to Rick and gives him a warm smile and a wave. Rick acknowledges Larry. They walk off. Now it starts to rain. People begin to scurry for cover. In the b.g., under a tree, we SEE Larry and his wife huddled in each other's arms. From the way they look, they have worked things out. He begins to sing the theme from "The Flintstones" with all the gusto of Jack Jones. Father Falwell has had enough. He blesses them lightning fast and springs for his car. Everyone has run for the safety of their cars. Everyone but the Thomersons, who sit and look on bewildered. | What did the parties end up becoming? | One giant drunken orgy. |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy fight with Cole is in perfect sync with the actors in the movie. Rick hits Cole with a punch that sends him backwards into several movie patrons. The patrons are impressed by the realism of the film's special effects. Cole throws a punch. Rick ducks. The punch hits a MAN in the front row in the mouth. Rick climbs over several rows and continues to pummel Cole. Cole grabs a woman's purse and begins to hit Rick with it. Cole runs out of the aisle as Rick climbs over people and dives onto Cole, knocking him to the aisle. As the movie ends, Rick has Cole by the collar and is dragging him out of the theater. The Patrons are exiting. All of them are very up and excited by their 3D experience. A Man who has taken a punch and has had his jacket ripped to shreds doesn't seem pleased. The many guests are seated and taken in the moment. Among these are Tracey, Desiree and Gary's she-man, who waves to Gary as he stands with the other ushers, Chulo, Ryko and Larry. Chulo is choked up and trying to hide his tears. He looks over at Laverne, who smiles to him. Nearby stand the maids of honor, Bobbie, Phoebie and Ilene, who blows a kiss to her date, Ray (one of the Japanese businessmen). The Thomersons sit in the front row. Neither of them is cherishing this moment. They sort of smile at each other at the thought. Father Falwell is almost through with the ceremony. A car pulls up in the b.g. Exiting the car is Stan and a WOMAN. O'Neill, the best man, sees the car. He pokes Rick. He indicates to Rick someone has arrived. Larry looks to Rick and gives him a warm smile and a wave. Rick acknowledges Larry. They walk off. Now it starts to rain. People begin to scurry for cover. In the b.g., under a tree, we SEE Larry and his wife huddled in each other's arms. From the way they look, they have worked things out. He begins to sing the theme from "The Flintstones" with all the gusto of Jack Jones. Father Falwell has had enough. He blesses them lightning fast and springs for his car. Everyone has run for the safety of their cars. Everyone but the Thomersons, who sit and look on bewildered. he does, he grabs a hanger out of the closet. They back away from the window. All the guys treat this as if it's "Let's Make A Deal". They take sides, yelling out, "Take the car," "Keep Debbie." Over the din we hear a befuddled Rick. He walks over to the window. Cole follows closely. He's trying to convince Rick to take the car. As he looks out the window we see with him that his car is gone. He charges out of the room. Jumbo has had enough. He backs Gary against a wall and pulls a knife on him. Gary hurriedly digs into his pockets and gives Jumbo his money. He snaps his fingers and TWO of his LADIES come forward. The girls walk over to Gary and proceed to beat the crap out of him. The girls giggle as they enter the place, with Mrs. Thomerson following reluctantly behind. They head for some empty tables. Debbie notices her mother is still standing transfixed by the MAN on display on stage. Debbie grabs her by the shoulder. On the way to the table they pass MICHAEL, the bartender, who looks at them and immediately recognizes Debbie. Finding this interesting, he picks up a phone and dials. The guys take out money. Larry stands and digs into his pocket for his wallet. Along with the wallet comes dozens of pills. The PHONE RINGS. Rick picks up the receiver. He hangs up the phone. Gary, meantime, has collected his money. The guys start toward the door. As Larry slumps on the couch, the guys exit. He enters a phone booth and starts to dial. He crosses with executive toward the ballroom. They exit into ballroom. He joins the other guys. The guys shout approval as NICK, one of the male | Who botched his suicide attempts every time? | Brad, Rick's friend. |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's Neal Israel & Pat Proft Sister Mary Francis checks her watch. She scowls and looks out past the parking lot gate. Suddenly we HEAR the SOUND of an ENGINE roaring at full throttle. There is a SCREECHING of BRAKES, followed by the loud GRINDING of GEARS. It sounds like the Indy 500 is taking place around the corner. While chronologically older than the St. Luke students, the only thing that sets him apart from them is that he has a driver's license. Rick figures he'll live up to his capabilities and get serious in his next life... This incarnation's strictly for laughs. Sister Mary Francis steps up to him. He starts sobbing softly into his hands. The kids obediently file past Rick, who makes like he is drying his tears with his handkerchief. He hops on the bus, closes the door and gently backs the bus out of the parking lot. The kids pay no attention to him. He takes the picture and we SEE the camera flash. She smiles and exits. A beautiful -- and we're talking gorgeous -- WOMAN enters. Her clothes hug every curve of her body. She has her baby in her arms. O'Neill immediately wants her, and now. His eyes settle onto her full breasts. These he likes. She gets this innuendo and loves it. He takes the baby. He has a hard time taking his eyes off her breasts. He places the baby on the blanket. She coyly leans INTO FRAME. She is totally blocking her baby out of the picture. She starts to unbutton her blouse. O'Neill looks into his camera. As she complies, her breasts all but spill out of her dress. O'Neill crosses to his camera and takes out the film. A SMALL MECHANIC with an eye patch gets into a man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any fight with Cole is in perfect sync with the actors in the movie. Rick hits Cole with a punch that sends him backwards into several movie patrons. The patrons are impressed by the realism of the film's special effects. Cole throws a punch. Rick ducks. The punch hits a MAN in the front row in the mouth. Rick climbs over several rows and continues to pummel Cole. Cole grabs a woman's purse and begins to hit Rick with it. Cole runs out of the aisle as Rick climbs over people and dives onto Cole, knocking him to the aisle. As the movie ends, Rick has Cole by the collar and is dragging him out of the theater. The Patrons are exiting. All of them are very up and excited by their 3D experience. A Man who has taken a punch and has had his jacket ripped to shreds doesn't seem pleased. The many guests are seated and taken in the moment. Among these are Tracey, Desiree and Gary's she-man, who waves to Gary as he stands with the other ushers, Chulo, Ryko and Larry. Chulo is choked up and trying to hide his tears. He looks over at Laverne, who smiles to him. Nearby stand the maids of honor, Bobbie, Phoebie and Ilene, who blows a kiss to her date, Ray (one of the Japanese businessmen). The Thomersons sit in the front row. Neither of them is cherishing this moment. They sort of smile at each other at the thought. Father Falwell is almost through with the ceremony. A car pulls up in the b.g. Exiting the car is Stan and a WOMAN. O'Neill, the best man, sees the car. He pokes Rick. He indicates to Rick someone has arrived. Larry looks to Rick and gives him a warm smile and a wave. Rick acknowledges Larry. They walk off. Now it starts to rain. People begin to scurry for cover. In the b.g., under a tree, we SEE Larry and his wife huddled in each other's arms. From the way they look, they have worked things out. He begins to sing the theme from "The Flintstones" with all the gusto of Jack Jones. Father Falwell has had enough. He blesses them lightning fast and springs for his car. Everyone has run for the safety of their cars. Everyone but the Thomersons, who sit and look on bewildered. | What was one example of Brad's suicide attempts? | Slitting his wrists with and electric razor. |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in a surge of emotion, picks Laverne up off her feet and hugs her passionately. The other judge looks at Mr. Thomerson suspiciously. The guy in front removes the head, takes a drag of his cigarette and passes it to the guy bringing up the rear. After a beat, smoke steams out the rear end of the costume. Just then Rick and O'Neill saunter into the lobby. At that moment he HEARS a SPLAT hit the ground. The guys look down and see a large, shiny clump of shiny brown excrement nestled in the shag carpet. The Manager crosses to them. All the guests turn away in disgust. Stan takes out a handkerchief and hands it to Rick, who closes his eyes and picks up the warm little bundle. The Manager turns and walks off in a huff. On the way back to the elevator, Rick checks to see no one is watching and places the handkerchief's contents on the front desk, just OUT OF FRAME. Smiling contentedly, the guys lead the reluctant "moose" into the elevator. The doors slam shut. He goes to hit the bell and to his surprise, his hand comes down on something soft and mushy. The look on his face tells us what it is. It's the "gift" Rick left behind. Revolted, he races into a room marked "MEN." Mr. T. crosses to the door just as Cole comes running in, slightly dazed, wrapped in the tattered remnants of the sheet that held him suspended out the window. They both are shocked to see one another. With a determined look, Thomerson crosses to the elevator, as Cole runs into the hotel gift shop. O'Neill lifts the head off the moose costume, revealing a real burro. The burro shows all his teeth as burros are apt to | What was happening while Rick was convincing Debbie of his love? | The party was being raided by the police. |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any fight with Cole is in perfect sync with the actors in the movie. Rick hits Cole with a punch that sends him backwards into several movie patrons. The patrons are impressed by the realism of the film's special effects. Cole throws a punch. Rick ducks. The punch hits a MAN in the front row in the mouth. Rick climbs over several rows and continues to pummel Cole. Cole grabs a woman's purse and begins to hit Rick with it. Cole runs out of the aisle as Rick climbs over people and dives onto Cole, knocking him to the aisle. As the movie ends, Rick has Cole by the collar and is dragging him out of the theater. The Patrons are exiting. All of them are very up and excited by their 3D experience. A Man who has taken a punch and has had his jacket ripped to shreds doesn't seem pleased. The many guests are seated and taken in the moment. Among these are Tracey, Desiree and Gary's she-man, who waves to Gary as he stands with the other ushers, Chulo, Ryko and Larry. Chulo is choked up and trying to hide his tears. He looks over at Laverne, who smiles to him. Nearby stand the maids of honor, Bobbie, Phoebie and Ilene, who blows a kiss to her date, Ray (one of the Japanese businessmen). The Thomersons sit in the front row. Neither of them is cherishing this moment. They sort of smile at each other at the thought. Father Falwell is almost through with the ceremony. A car pulls up in the b.g. Exiting the car is Stan and a WOMAN. O'Neill, the best man, sees the car. He pokes Rick. He indicates to Rick someone has arrived. Larry looks to Rick and gives him a warm smile and a wave. Rick acknowledges Larry. They walk off. Now it starts to rain. People begin to scurry for cover. In the b.g., under a tree, we SEE Larry and his wife huddled in each other's arms. From the way they look, they have worked things out. He begins to sing the theme from "The Flintstones" with all the gusto of Jack Jones. Father Falwell has had enough. He blesses them lightning fast and springs for his car. Everyone has run for the safety of their cars. Everyone but the Thomersons, who sit and look on bewildered. smiles happily as he slithers back to his car. Just as they are about to get into the elevator, a hand comes INTO FRAME and holds the door so it will not close. WIDEN TO INCLUDE the MANAGER. All their carrying-on stops when the guys see him staring grimly at them. If he wasn't a hotel manager, he'd be a mortician. He has a constant expression on his face that suggests he's constantly sucking lemons. Rick takes out his key. The door starts to close and the guys start yelling. The door slams shut before the Manager can say anything else. Debbie comes into the living room and sits next to Bobbie. The guys give out a hearty cheer as they huddle around the door. O'Neill grabs the doorknob. He takes his time, playing up the moment. The guys lean forward, anticipating the opening of the gates of heaven. He flings open the door and everyone but he and Rick burst into the room. He hangs a chin-up bar in a doorway and starts to chin himself. He takes a prophylactic out of a Trojan carton. He blows it up. On closer examination, we SEE all the balloons are inflated prophylactics. He threads a film projector. Ryko flips off the lights as O'Neill puts the projector into forward and the title flashes on a movie screen. All the guys yell in anticipation. Suddenly an abrupt jump cut. The girls are undressed and lying on top of the man. Our guys are seriously let down. Rick turns to a shocked O'Neill. A jump cut and they are dressing. Stan can't take it anymore. He jumps to his feet. O'Neill rises abruptly. Before Tina can speak, Margot speaks up. She's reading from the piece of paper Cole gave her. They give each | Where was one location where a chase between Rick and Cole took place? | A 36-screen movie theater. |
Neal Israel & Pat Proft Sister Mary Francis checks her watch. She scowls and looks out past the parking lot gate. Suddenly we HEAR the SOUND of an ENGINE roaring at full throttle. There is a SCREECHING of BRAKES, followed by the loud GRINDING of GEARS. It sounds like the Indy 500 is taking place around the corner. While chronologically older than the St. Luke students, the only thing that sets him apart from them is that he has a driver's license. Rick figures he'll live up to his capabilities and get serious in his next life... This incarnation's strictly for laughs. Sister Mary Francis steps up to him. He starts sobbing softly into his hands. The kids obediently file past Rick, who makes like he is drying his tears with his handkerchief. He hops on the bus, closes the door and gently backs the bus out of the parking lot. The kids pay no attention to him. He takes the picture and we SEE the camera flash. She smiles and exits. A beautiful -- and we're talking gorgeous -- WOMAN enters. Her clothes hug every curve of her body. She has her baby in her arms. O'Neill immediately wants her, and now. His eyes settle onto her full breasts. These he likes. She gets this innuendo and loves it. He takes the baby. He has a hard time taking his eyes off her breasts. He places the baby on the blanket. She coyly leans INTO FRAME. She is totally blocking her baby out of the picture. She starts to unbutton her blouse. O'Neill looks into his camera. As she complies, her breasts all but spill out of her dress. O'Neill crosses to his camera and takes out the film. A SMALL MECHANIC with an eye patch gets into a that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy a surge of emotion, picks Laverne up off her feet and hugs her passionately. The other judge looks at Mr. Thomerson suspiciously. The guy in front removes the head, takes a drag of his cigarette and passes it to the guy bringing up the rear. After a beat, smoke steams out the rear end of the costume. Just then Rick and O'Neill saunter into the lobby. At that moment he HEARS a SPLAT hit the ground. The guys look down and see a large, shiny clump of shiny brown excrement nestled in the shag carpet. The Manager crosses to them. All the guests turn away in disgust. Stan takes out a handkerchief and hands it to Rick, who closes his eyes and picks up the warm little bundle. The Manager turns and walks off in a huff. On the way back to the elevator, Rick checks to see no one is watching and places the handkerchief's contents on the front desk, just OUT OF FRAME. Smiling contentedly, the guys lead the reluctant "moose" into the elevator. The doors slam shut. He goes to hit the bell and to his surprise, his hand comes down on something soft and mushy. The look on his face tells us what it is. It's the "gift" Rick left behind. Revolted, he races into a room marked "MEN." Mr. T. crosses to the door just as Cole comes running in, slightly dazed, wrapped in the tattered remnants of the sheet that held him suspended out the window. They both are shocked to see one another. With a determined look, Thomerson crosses to the elevator, as Cole runs into the hotel gift shop. O'Neill lifts the head off the moose costume, revealing a real burro. The burro shows all his teeth as burros are apt to helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in | To what did a theater watcher mistakenly attribute being punched to? | The 3D movie effects. |
chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy a surge of emotion, picks Laverne up off her feet and hugs her passionately. The other judge looks at Mr. Thomerson suspiciously. The guy in front removes the head, takes a drag of his cigarette and passes it to the guy bringing up the rear. After a beat, smoke steams out the rear end of the costume. Just then Rick and O'Neill saunter into the lobby. At that moment he HEARS a SPLAT hit the ground. The guys look down and see a large, shiny clump of shiny brown excrement nestled in the shag carpet. The Manager crosses to them. All the guests turn away in disgust. Stan takes out a handkerchief and hands it to Rick, who closes his eyes and picks up the warm little bundle. The Manager turns and walks off in a huff. On the way back to the elevator, Rick checks to see no one is watching and places the handkerchief's contents on the front desk, just OUT OF FRAME. Smiling contentedly, the guys lead the reluctant "moose" into the elevator. The doors slam shut. He goes to hit the bell and to his surprise, his hand comes down on something soft and mushy. The look on his face tells us what it is. It's the "gift" Rick left behind. Revolted, he races into a room marked "MEN." Mr. T. crosses to the door just as Cole comes running in, slightly dazed, wrapped in the tattered remnants of the sheet that held him suspended out the window. They both are shocked to see one another. With a determined look, Thomerson crosses to the elevator, as Cole runs into the hotel gift shop. O'Neill lifts the head off the moose costume, revealing a real burro. The burro shows all his teeth as burros are apt to | Where does Rick Gassko work? | As a bus driver |
chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any Neal Israel & Pat Proft Sister Mary Francis checks her watch. She scowls and looks out past the parking lot gate. Suddenly we HEAR the SOUND of an ENGINE roaring at full throttle. There is a SCREECHING of BRAKES, followed by the loud GRINDING of GEARS. It sounds like the Indy 500 is taking place around the corner. While chronologically older than the St. Luke students, the only thing that sets him apart from them is that he has a driver's license. Rick figures he'll live up to his capabilities and get serious in his next life... This incarnation's strictly for laughs. Sister Mary Francis steps up to him. He starts sobbing softly into his hands. The kids obediently file past Rick, who makes like he is drying his tears with his handkerchief. He hops on the bus, closes the door and gently backs the bus out of the parking lot. The kids pay no attention to him. He takes the picture and we SEE the camera flash. She smiles and exits. A beautiful -- and we're talking gorgeous -- WOMAN enters. Her clothes hug every curve of her body. She has her baby in her arms. O'Neill immediately wants her, and now. His eyes settle onto her full breasts. These he likes. She gets this innuendo and loves it. He takes the baby. He has a hard time taking his eyes off her breasts. He places the baby on the blanket. She coyly leans INTO FRAME. She is totally blocking her baby out of the picture. She starts to unbutton her blouse. O'Neill looks into his camera. As she complies, her breasts all but spill out of her dress. O'Neill crosses to his camera and takes out the film. A SMALL MECHANIC with an eye patch gets into a man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in | Who does Debbie's father ask to break up Debbie and Rick? | Cole Whittier |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy dancers, enters carrying a tray of food. Nick is a muscled hunk. Nick drops his pants. Since he's being SHOT only from the WAIST UP, we can't see what the guys see. Nick holds the tray waist high. Rick arranges the food. Michael hands Rick a hot dog bun. Rick places it on the tray. He turns to Nick. He exits. As he does, our guys crowd around and peek through the kitchen door. The girls grab their orders. Mrs. T. is last. Hers is the hot dog. She points to it. Mrs. T. grabs the hot dog. It won't come off the tray. She yanks harder. Nick drops the tray and Mrs. T. finally comes to realize what she is pulling on. She screams in terror. Because of sheer fright, she can't seem to drop Nick's schlong from her grip. The rest of our ladies look to see Mrs. T. 's hot dog. They scream in shock. Debbie spits out her marguerita, hitting Phoebe in the face. She gestures to a MAN with his back TO US. The PIMP turns around and we SEE he is the stereotypical pimp. One big difference: he's an Indian straight from the streets of Calcutta. He's soft-spoken and ever smiling and he still hasn't quite mastered English. Milt casually takes off his hat and immediately sticks his face through a nearby window, smashing it to pieces. He pulls his head out, smiles and puts his hat back on. Gary extends his hand and they shake. Rick crosses to the bathroom door, opens it and goes in. Larry comes out of the water. He gasps for breath and speaks. He takes a deep breath and submerges his head again. Rick unplugs the tub and it begins to drain. The water has drained from the | What does Brad try to slit his wrists with? | An electric razor. |
Neal Israel & Pat Proft Sister Mary Francis checks her watch. She scowls and looks out past the parking lot gate. Suddenly we HEAR the SOUND of an ENGINE roaring at full throttle. There is a SCREECHING of BRAKES, followed by the loud GRINDING of GEARS. It sounds like the Indy 500 is taking place around the corner. While chronologically older than the St. Luke students, the only thing that sets him apart from them is that he has a driver's license. Rick figures he'll live up to his capabilities and get serious in his next life... This incarnation's strictly for laughs. Sister Mary Francis steps up to him. He starts sobbing softly into his hands. The kids obediently file past Rick, who makes like he is drying his tears with his handkerchief. He hops on the bus, closes the door and gently backs the bus out of the parking lot. The kids pay no attention to him. He takes the picture and we SEE the camera flash. She smiles and exits. A beautiful -- and we're talking gorgeous -- WOMAN enters. Her clothes hug every curve of her body. She has her baby in her arms. O'Neill immediately wants her, and now. His eyes settle onto her full breasts. These he likes. She gets this innuendo and loves it. He takes the baby. He has a hard time taking his eyes off her breasts. He places the baby on the blanket. She coyly leans INTO FRAME. She is totally blocking her baby out of the picture. She starts to unbutton her blouse. O'Neill looks into his camera. As she complies, her breasts all but spill out of her dress. O'Neill crosses to his camera and takes out the film. A SMALL MECHANIC with an eye patch gets into a that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy them and stops in front of them. He stares at them strangely, looking from face to face. To the guys' surprise, he goes around hugging each one of them. They start walking toward the baggage claim area. Larry stops walking and immediately breaks down. Larry reaches into his pocket, takes out a Quaalude. He pops it in his mouth. Before Larry can answer they reach the bus where Debbie is waiting for them. As a couple of the guys pick Larry up and carry him into the bus we He opens the door, picks Debbie up and carries her out to the sidewalk. She grabs Rick and wraps her arm around him in a playful headlock. Debbie lets go of his neck. They kiss, and the guys whistle in the background. Then Debbie starts toward the house and Rick hops back into the bus. He gets into the seat and sits there for a moment, watching Debbie with a guilty look as she goes into the house. The guys holler and whoop it up as Rick puts the bus in gear and takes off down the street. Gary takes out a roll of bills, which Jumbo grabs and quickly counts. Two shapely HOOKERS in tight-fitting clothes come up to them. The girls look at him with "Is he for real?" in their eyes. Gary takes some slips of paper out of his pocket and hands Jumbo one. Gary turns, almost collides with a garbage can, and starts walking down the street. He passes a parked Porsche. After a beat, Cole Whittier sticks his head up and watches Gary walk off. Then he hops out of his car and approaches Jumbo and the girls. Cole's face lights up. This is the information he needed. He takes out a fifty-dollar bill. Cole | How do Debbie and Rick get to the airport? | In a bus |
chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's them and stops in front of them. He stares at them strangely, looking from face to face. To the guys' surprise, he goes around hugging each one of them. They start walking toward the baggage claim area. Larry stops walking and immediately breaks down. Larry reaches into his pocket, takes out a Quaalude. He pops it in his mouth. Before Larry can answer they reach the bus where Debbie is waiting for them. As a couple of the guys pick Larry up and carry him into the bus we He opens the door, picks Debbie up and carries her out to the sidewalk. She grabs Rick and wraps her arm around him in a playful headlock. Debbie lets go of his neck. They kiss, and the guys whistle in the background. Then Debbie starts toward the house and Rick hops back into the bus. He gets into the seat and sits there for a moment, watching Debbie with a guilty look as she goes into the house. The guys holler and whoop it up as Rick puts the bus in gear and takes off down the street. Gary takes out a roll of bills, which Jumbo grabs and quickly counts. Two shapely HOOKERS in tight-fitting clothes come up to them. The girls look at him with "Is he for real?" in their eyes. Gary takes some slips of paper out of his pocket and hands Jumbo one. Gary turns, almost collides with a garbage can, and starts walking down the street. He passes a parked Porsche. After a beat, Cole Whittier sticks his head up and watches Gary walk off. Then he hops out of his car and approaches Jumbo and the girls. Cole's face lights up. This is the information he needed. He takes out a fifty-dollar bill. Cole | What happens to the bachelor party? | It goes crazy and becomes an orgy |
Neal Israel & Pat Proft Sister Mary Francis checks her watch. She scowls and looks out past the parking lot gate. Suddenly we HEAR the SOUND of an ENGINE roaring at full throttle. There is a SCREECHING of BRAKES, followed by the loud GRINDING of GEARS. It sounds like the Indy 500 is taking place around the corner. While chronologically older than the St. Luke students, the only thing that sets him apart from them is that he has a driver's license. Rick figures he'll live up to his capabilities and get serious in his next life... This incarnation's strictly for laughs. Sister Mary Francis steps up to him. He starts sobbing softly into his hands. The kids obediently file past Rick, who makes like he is drying his tears with his handkerchief. He hops on the bus, closes the door and gently backs the bus out of the parking lot. The kids pay no attention to him. He takes the picture and we SEE the camera flash. She smiles and exits. A beautiful -- and we're talking gorgeous -- WOMAN enters. Her clothes hug every curve of her body. She has her baby in her arms. O'Neill immediately wants her, and now. His eyes settle onto her full breasts. These he likes. She gets this innuendo and loves it. He takes the baby. He has a hard time taking his eyes off her breasts. He places the baby on the blanket. She coyly leans INTO FRAME. She is totally blocking her baby out of the picture. She starts to unbutton her blouse. O'Neill looks into his camera. As she complies, her breasts all but spill out of her dress. O'Neill crosses to his camera and takes out the film. A SMALL MECHANIC with an eye patch gets into a that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in | What happened to Brad's wife? | She left him |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's car behind them as we DOLLY WITH the guys THROUGH the lot. Another MECHANIC sticks his face out of another car and shakes his head. Just then Raul, the eye-patched worker, whizzes by behind the guys, driving the car in a zig-zag pattern right into traffic. Behind them we can SEE Roberto fiddling with the lighter. Suddenly flames leap out of the car, blowing Roberto ten feet into the air. Chulo turns to another mechanic, who has his head under the hood of a car. Manuel waves at Chulo, who turns, hops on the bus. Rick starts it up and starts to drive away. Just as the bus CLEARS FRAME, we SEE Manuel connect two wires together at the same moment the guy with the hose washes down the area around his feet. Manuel lights up like a Christmas tree, screaming in pain. There is a beat, and then Robert falls INTO FRAME, still holding the cigarette lighter, and the car Raul is driving enters the lot and smashes into the side of the garage. He gets up and they start for the door. Just then the PHONE RINGS. Gary picks it up. He hangs up the phone and they start for the door again. The guys all laugh and exit. The WAITER approaches them from OUT OF FRAME. He holds up a blackboard with the day's menu. One of the customers shrugs and hands him a pen. Ryko's customers look totally disgusted as Ryko's short attention span is interrupted by something he sees O.S. They all disappear into the bar area. The customers are pleased to get rid of Ryko. SKIP enters. He's a clone of Ryko. The customers give each other a "Here we go again" look The guys acknowledge him. Chulo gets up and gives Rick a man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in tub, leaving Larry high and dry. He lifts his head out of the tub. In his state, he's unaware that the water is gone. He gasps for air as Rick holds him up. Larry takes a deep breath and plunges his head into the tub. His head hits the waterless tub bottom with a loud THUD. He goes limp from the concussion. His body drapes into the tub, head first. Larry gets up and exits the room. PUSH IN ON Rick. He looks after Larry, concerned. Looking over into the next booth, he sees Thomerson's back. He slams the phone down and EXITS SCREEN RIGHT. Cole starts to exit left when he spots Chulo getting into the elevator. The elevator doors slam shut. Cole races out into the street. CAMERA PANS as he charges to his Porsche. His pride and joy has now, thanks to Chulo, been customized into a Chicano special. It's chopped and channeled; dingleberries rim the back window, flames have been painted on the rear fender; a chain steering wheel, fuzzy dashboard, dice hanging from the mirror. A real East L.A. beauty. He looks out the window and sees Cole standing next to his transformed Porsche. He grabs Rick by the arm and leads him out of the room. Waiter acknowledges he's got it and exits. O'Neill joins Rick. O'Neill leads Rick to the table the Bellhop pointed out. They sit down. Immediately O'Neill takes some cash from his pocket and holds it under the table. The Hooker has begun to do what she does best. And Rick loves it. Rick tries to maintain his dignity. But from under the table a blue ribbon job is being applied to his fun zone. Falwell shakes Rick's hand. Rick hangs on for dear life. Pumping the hand up and | Who raids the party? | The police |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy fight with Cole is in perfect sync with the actors in the movie. Rick hits Cole with a punch that sends him backwards into several movie patrons. The patrons are impressed by the realism of the film's special effects. Cole throws a punch. Rick ducks. The punch hits a MAN in the front row in the mouth. Rick climbs over several rows and continues to pummel Cole. Cole grabs a woman's purse and begins to hit Rick with it. Cole runs out of the aisle as Rick climbs over people and dives onto Cole, knocking him to the aisle. As the movie ends, Rick has Cole by the collar and is dragging him out of the theater. The Patrons are exiting. All of them are very up and excited by their 3D experience. A Man who has taken a punch and has had his jacket ripped to shreds doesn't seem pleased. The many guests are seated and taken in the moment. Among these are Tracey, Desiree and Gary's she-man, who waves to Gary as he stands with the other ushers, Chulo, Ryko and Larry. Chulo is choked up and trying to hide his tears. He looks over at Laverne, who smiles to him. Nearby stand the maids of honor, Bobbie, Phoebie and Ilene, who blows a kiss to her date, Ray (one of the Japanese businessmen). The Thomersons sit in the front row. Neither of them is cherishing this moment. They sort of smile at each other at the thought. Father Falwell is almost through with the ceremony. A car pulls up in the b.g. Exiting the car is Stan and a WOMAN. O'Neill, the best man, sees the car. He pokes Rick. He indicates to Rick someone has arrived. Larry looks to Rick and gives him a warm smile and a wave. Rick acknowledges Larry. They walk off. Now it starts to rain. People begin to scurry for cover. In the b.g., under a tree, we SEE Larry and his wife huddled in each other's arms. From the way they look, they have worked things out. He begins to sing the theme from "The Flintstones" with all the gusto of Jack Jones. Father Falwell has had enough. He blesses them lightning fast and springs for his car. Everyone has run for the safety of their cars. Everyone but the Thomersons, who sit and look on bewildered. car behind them as we DOLLY WITH the guys THROUGH the lot. Another MECHANIC sticks his face out of another car and shakes his head. Just then Raul, the eye-patched worker, whizzes by behind the guys, driving the car in a zig-zag pattern right into traffic. Behind them we can SEE Roberto fiddling with the lighter. Suddenly flames leap out of the car, blowing Roberto ten feet into the air. Chulo turns to another mechanic, who has his head under the hood of a car. Manuel waves at Chulo, who turns, hops on the bus. Rick starts it up and starts to drive away. Just as the bus CLEARS FRAME, we SEE Manuel connect two wires together at the same moment the guy with the hose washes down the area around his feet. Manuel lights up like a Christmas tree, screaming in pain. There is a beat, and then Robert falls INTO FRAME, still holding the cigarette lighter, and the car Raul is driving enters the lot and smashes into the side of the garage. He gets up and they start for the door. Just then the PHONE RINGS. Gary picks it up. He hangs up the phone and they start for the door again. The guys all laugh and exit. The WAITER approaches them from OUT OF FRAME. He holds up a blackboard with the day's menu. One of the customers shrugs and hands him a pen. Ryko's customers look totally disgusted as Ryko's short attention span is interrupted by something he sees O.S. They all disappear into the bar area. The customers are pleased to get rid of Ryko. SKIP enters. He's a clone of Ryko. The customers give each other a "Here we go again" look The guys acknowledge him. Chulo gets up and gives Rick a | Who gets punched? | A woman in the movie theatre. |
that moment the hotel door opens up and the cops and the Manager are trampled by Rick, Debbie, Mr. Thomerson, Rick's gang, other guests and assorted hookers. They run down the stairs. The cops pick themselves up and give chase. The Manager looks inside the room and is devastated by what he sees... Hiroshima looked better after the A-bomb. The cops grab Mr. Thomerson as he tries to get out, and they throw him in line with the others. Unfortunately for him, he's standing next to Mrs. Thomerson. Before he can answer, Mrs. Thomerson checks out his shocking leather outfit. He is totally blown away by this as the cops lead them out of the room. Suddenly a Porsche pulls up between Rick and Debbie. It's Cole. He reaches over and pulls Debbie into the car with him. She screams. He drives off. They all board the bus. Cole, with Debbie in tow, grabs the truck's DRIVER and hauls him out of his seat. He then places Debbie inside the truck and him at the wheel. He peels out. Our man with the cones in the back is unaware of what has happened. He keeps placing the cones on the street. However, now the truck is hitting speeds in the upper 70's. The man's leisure pace speeds up. He rapidly places cones on the road at break-neck speed. Rick brings his bus to a stop and he and the gang pour out of the bus. They all go running into various theaters. Rick chooses a theater and goes inside. He takes a swing at Cole and Cole swings back. Behind them on the screen a man has come to the rescue of the woman. A fight starts in the movie, also. The patrons sit calmly watching the action. Miraculously, Rick's chase. As they enter we go to -- Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress. Stan pats Rick on the back and dives into the festivities. They take each other by the hand. They walk into the bedroom and close the door behind them. The New Wave dance briefly continues, then comes to an end. Ryko and Stan cross to the door and exit. As they do, four or five pretty GIRLS are passing by in the hallway. The girls cross inside. He heaves another deep sigh and brings an electric razor INTO FRAME. He turns it on and runs it over his wrist. Of course, nothing happens. Just then Rick enters. As he shoves Larry out, Gary enters the bathroom. His expression tells us he's had the best sex of his life. Rick exits as Gary dreamily crosses to the mirror. Gary's "woman" enters and closes the door. Their eyes meet. Gary takes her hand and kisses it gently. She turns away, then lifts up the toilet seat, lifts up her dress and proceeds to pee. She is a man. Gary is stunned. His jaw drops open. Gary's dream girl/guy finishes his business. He drops his dress and turns to Gary. He blows a kiss and starts to leave, but turns back. Tim exits. Gary feels filthy. He rips open the cabinet, takes out tooth paste and toothbrush and vigorously brushes his teeth. He rips off his clothes and jumps in the shower and scrubs as if he's scraping barnacles off a hull of a tugboat. Rick enters the bedroom. Tracey walks toward Rick. The light illuminates her. What we see is truly the most beautiful woman on earth. She is totally nude. A vision that would make any man screw and ask questions later. Rick instinctively makes a move toward her. He decides to go for it. Rick is shaken by this. He shakes his head and wipes at his eyes. Debbie's face is gone. He moves toward Tracey again. Sister Mary Francis's face disappears. Stan's face turns back to Tracey's. Debbie's face appears on Tracey's. Debbie's face disappears. Rick can't take it anymore. He runs out of the room, leaving a very confused Tracey in his wake. Rick crosses to the bar area as O'Neill watches him go, beaming. He runs out of the room. Rick and O'Neill watch Rajah exit, confused. Just then another arrow comes zipping through the room, lodging in a chair inches from Rick. They turn in the direction the arrow came from and look out the window. They spot Cole loading his bow in the room across the way. They start for the door as we go to -- Laverne is moved by this. Before she can respond a Stage Manager takes her by the arm and pushes her on stage. Chulo watches Laverne enter the stage to hearty applause. He looks through his cards hurriedly and is unable to find Laverne's. Chulo looks at her with awe and respect as she exits into the dressing room. The Manager crosses to them. The girls turn and start toward the elevator. Mrs. Thomerson, who is wearing the kind of push-up bra that makes her tits look like the Black Hills, smiles at the Manager seductively. He smiles back, then catches himself. The girls cross to the elevator. Ilene pushes the button and the doors swing open. They get inside and just before the doors close, a huge behemoth of a man joins them inside. He turns and faces CAMERA. It's Milt, Rajah's beefy helper. He doesn't look happy as he eyes the girls. They look back at him uncomfortably as the doors slam shut. Milt stops at a door and kicks it with his foot. The door opens a crack at first, then swings open wide, revealing six middle-aged Japanese business MEN in their underwear. They smile wide at the girls, obviously thrilled with the quality of the merchandise delivered to them. Milt shoves them into the room. He slams the door shut and exits. They turn toward the door. One of the Japanese races over and gets there first, slamming and bolting the door shut. The girls run around the room in a panic with the Japanese chasing them in very hot pursuit. He and O'Neill duck around the hallway corner, out of sight. He hears a KNOCK on the DOOR. Cole quickly hides his crossbow under the bed and answers the door. She walks into the room. Cole closes the door. e and O'Neill burst into the room and close the door. Rick stuffs Cole's underwear in his mouth to gag him. He and O'Neill lift Cole up and put him out the window. They hang onto the sheet/blanket rope and lower him slowly outside. They duck inside the window. She smiles coyly and starts to undress. He crosses to the closed blinds. He opens the blinds, revealing Cole's ass pressed up against the window. The sun roof opens. Suddenly Cole's ass sticks through it. The Woman freaks out again. Laverne and the five finalists go out on stage. Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head. Then the MC leads her to the microphone. She points O.S. to Chulo, Chulo, with tears in his eyes, comes out on stage and, in fight with Cole is in perfect sync with the actors in the movie. Rick hits Cole with a punch that sends him backwards into several movie patrons. The patrons are impressed by the realism of the film's special effects. Cole throws a punch. Rick ducks. The punch hits a MAN in the front row in the mouth. Rick climbs over several rows and continues to pummel Cole. Cole grabs a woman's purse and begins to hit Rick with it. Cole runs out of the aisle as Rick climbs over people and dives onto Cole, knocking him to the aisle. As the movie ends, Rick has Cole by the collar and is dragging him out of the theater. The Patrons are exiting. All of them are very up and excited by their 3D experience. A Man who has taken a punch and has had his jacket ripped to shreds doesn't seem pleased. The many guests are seated and taken in the moment. Among these are Tracey, Desiree and Gary's she-man, who waves to Gary as he stands with the other ushers, Chulo, Ryko and Larry. Chulo is choked up and trying to hide his tears. He looks over at Laverne, who smiles to him. Nearby stand the maids of honor, Bobbie, Phoebie and Ilene, who blows a kiss to her date, Ray (one of the Japanese businessmen). The Thomersons sit in the front row. Neither of them is cherishing this moment. They sort of smile at each other at the thought. Father Falwell is almost through with the ceremony. A car pulls up in the b.g. Exiting the car is Stan and a WOMAN. O'Neill, the best man, sees the car. He pokes Rick. He indicates to Rick someone has arrived. Larry looks to Rick and gives him a warm smile and a wave. Rick acknowledges Larry. They walk off. Now it starts to rain. People begin to scurry for cover. In the b.g., under a tree, we SEE Larry and his wife huddled in each other's arms. From the way they look, they have worked things out. He begins to sing the theme from "The Flintstones" with all the gusto of Jack Jones. Father Falwell has had enough. He blesses them lightning fast and springs for his car. Everyone has run for the safety of their cars. Everyone but the Thomersons, who sit and look on bewildered. | Who wins the fight between Rick and Cole? | Rick |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double DARKNESS. As the MAIN TITLES BEGIN, the theater thrums with a subsonic HISS which mounts in all the rattling power of THX, and we... Kenny sits up to the morning bedlam of the O'Donnell house. KIDS screech, doors bang all over. Kenny pushes Mark over, rolls out of bed, snatches up the corners of the blanket and hoists Mark over his shoulder in a screaming, kicking bundle. They kiss in passing. Daughter KATHY, 12, races by in angry pursuit of her twin, KEVIN, 12. Kenny dumps the bundle with Mark in a big pile of dirty laundry. The Technicians run for an idling Jeep. They sling the cases into the rear of the vehicle which in turn accelerates away hard, curving across the runway for another waiting plane. KENNY JR. smirk at Kevin. A PHONE RINGS as the kids cry out en masse. Kenny glances up at the wall. There are two phones, side by side. One RED, one BLACK. It's the black one ringing. Helen answers. Kenny goes back to his papers. Flying switches, flickering lights, humming motors. It's an eerie dance of technological black magic. Another pair of Interpreters loom out of the darkness, side by side, ghostly looking, their glasses reflecting the glare of the light table, like magicians staring into a crystal ball. He approaches the double doors at the end of the hall guarded by a cluster of SECRET SERVICE AGENTS. An agent opens one of the doors. The figure lowers the paper. It is PRESIDENT JOHN F. KENNEDY. He's wearing boxers and a tank top. Unshaven. Bed-head. Kenny O'Donnell, former ward-pol and long-time Kennedy man, is his Chief of Staff... The President rattles the paper. Kenny collapses in the chair | What happen in 1962? | Soviet Union in process of carrying nuclear weapons into Cuba. |
deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone DARKNESS. As the MAIN TITLES BEGIN, the theater thrums with a subsonic HISS which mounts in all the rattling power of THX, and we... Kenny sits up to the morning bedlam of the O'Donnell house. KIDS screech, doors bang all over. Kenny pushes Mark over, rolls out of bed, snatches up the corners of the blanket and hoists Mark over his shoulder in a screaming, kicking bundle. They kiss in passing. Daughter KATHY, 12, races by in angry pursuit of her twin, KEVIN, 12. Kenny dumps the bundle with Mark in a big pile of dirty laundry. The Technicians run for an idling Jeep. They sling the cases into the rear of the vehicle which in turn accelerates away hard, curving across the runway for another waiting plane. KENNY JR. smirk at Kevin. A PHONE RINGS as the kids cry out en masse. Kenny glances up at the wall. There are two phones, side by side. One RED, one BLACK. It's the black one ringing. Helen answers. Kenny goes back to his papers. Flying switches, flickering lights, humming motors. It's an eerie dance of technological black magic. Another pair of Interpreters loom out of the darkness, side by side, ghostly looking, their glasses reflecting the glare of the light table, like magicians staring into a crystal ball. He approaches the double doors at the end of the hall guarded by a cluster of SECRET SERVICE AGENTS. An agent opens one of the doors. The figure lowers the paper. It is PRESIDENT JOHN F. KENNEDY. He's wearing boxers and a tank top. Unshaven. Bed-head. Kenny O'Donnell, former ward-pol and long-time Kennedy man, is his Chief of Staff... The President rattles the paper. Kenny collapses in the chair the table, gray. He almost can't say it, can't look the President in the face. With a barrage of shouted orders in Russian, and a whine of the ERECTOR's engines, THE MISSILE BEGINS TO RISE. It stops, vertical. A pall falls over the room as LeMay explains. They all look to the President. Kenny stares, in a private hell, blacker and more complete than anyone should ever know. In that shocked silence each man grapples with failure. The Best and the Brightest could not prevent what must come next. The President gives Kenny a meaningful look. Taylor exits. Kenny rises, gives the President an almost imperceptible nod, as he prepares to leave in Taylor's wake. Kenny takes a breath, ready to start the shuck-and-jive... but for some reason doesn't. The young Major smiles to himself, to the phone. And he throws the throttle forward, A silver glint appears in the center of the horizon. It grows larger. Then larger still. It is the U-2. We barely have time to register the rising hiss of its engines, when it FILLS THE SCREEN and BOOMS PAST, leaving us standing still. The CAMERA PANS to follow it, but it's already dwindled to a speck, and we feel how fast 600 miles an hour really is. Anderson watches the number on the film-remaining counter spool down. He stares out the window. The towering clouds below rise up magnificent, glorious... a glimpse of heaven. Rapt, Anderson stares. And then suddenly a BLARING ALARM GOES OFF IN THE COCKPIT. It shocks Anderson around to the controls. It's his MISSILE WARNING LIGHT. Anderson' hands flash out to the joystick, turning off the cameras, disabling autopilot. He banks the U-2 hard. Then ANOTHER. | Who must come up with a plan of action to pervent their activation? | President John F Kennedy and his Advisers. |
deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone the table, gray. He almost can't say it, can't look the President in the face. With a barrage of shouted orders in Russian, and a whine of the ERECTOR's engines, THE MISSILE BEGINS TO RISE. It stops, vertical. A pall falls over the room as LeMay explains. They all look to the President. Kenny stares, in a private hell, blacker and more complete than anyone should ever know. In that shocked silence each man grapples with failure. The Best and the Brightest could not prevent what must come next. The President gives Kenny a meaningful look. Taylor exits. Kenny rises, gives the President an almost imperceptible nod, as he prepares to leave in Taylor's wake. Kenny takes a breath, ready to start the shuck-and-jive... but for some reason doesn't. The young Major smiles to himself, to the phone. And he throws the throttle forward, A silver glint appears in the center of the horizon. It grows larger. Then larger still. It is the U-2. We barely have time to register the rising hiss of its engines, when it FILLS THE SCREEN and BOOMS PAST, leaving us standing still. The CAMERA PANS to follow it, but it's already dwindled to a speck, and we feel how fast 600 miles an hour really is. Anderson watches the number on the film-remaining counter spool down. He stares out the window. The towering clouds below rise up magnificent, glorious... a glimpse of heaven. Rapt, Anderson stares. And then suddenly a BLARING ALARM GOES OFF IN THE COCKPIT. It shocks Anderson around to the controls. It's his MISSILE WARNING LIGHT. Anderson' hands flash out to the joystick, turning off the cameras, disabling autopilot. He banks the U-2 hard. Then ANOTHER. doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, | What kind of threat the United States will not allow? | Missile threat. |
steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, the table, gray. He almost can't say it, can't look the President in the face. With a barrage of shouted orders in Russian, and a whine of the ERECTOR's engines, THE MISSILE BEGINS TO RISE. It stops, vertical. A pall falls over the room as LeMay explains. They all look to the President. Kenny stares, in a private hell, blacker and more complete than anyone should ever know. In that shocked silence each man grapples with failure. The Best and the Brightest could not prevent what must come next. The President gives Kenny a meaningful look. Taylor exits. Kenny rises, gives the President an almost imperceptible nod, as he prepares to leave in Taylor's wake. Kenny takes a breath, ready to start the shuck-and-jive... but for some reason doesn't. The young Major smiles to himself, to the phone. And he throws the throttle forward, A silver glint appears in the center of the horizon. It grows larger. Then larger still. It is the U-2. We barely have time to register the rising hiss of its engines, when it FILLS THE SCREEN and BOOMS PAST, leaving us standing still. The CAMERA PANS to follow it, but it's already dwindled to a speck, and we feel how fast 600 miles an hour really is. Anderson watches the number on the film-remaining counter spool down. He stares out the window. The towering clouds below rise up magnificent, glorious... a glimpse of heaven. Rapt, Anderson stares. And then suddenly a BLARING ALARM GOES OFF IN THE COCKPIT. It shocks Anderson around to the controls. It's his MISSILE WARNING LIGHT. Anderson' hands flash out to the joystick, turning off the cameras, disabling autopilot. He banks the U-2 hard. Then ANOTHER. | Who advise immediate U.S. Military strikes against the missiles? | Joint Chief of Staff. |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, | Why did Kennedy administration tried to find a solution to move the missiles? | To avoid an act of war. |
arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His | Why did the U. S. naval forces stop all ships entering Cuban waters? | To stop weapons from entering Cuba. |
doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps | Who was Secretary of State? | Dean Rusk. |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, DARKNESS. As the MAIN TITLES BEGIN, the theater thrums with a subsonic HISS which mounts in all the rattling power of THX, and we... Kenny sits up to the morning bedlam of the O'Donnell house. KIDS screech, doors bang all over. Kenny pushes Mark over, rolls out of bed, snatches up the corners of the blanket and hoists Mark over his shoulder in a screaming, kicking bundle. They kiss in passing. Daughter KATHY, 12, races by in angry pursuit of her twin, KEVIN, 12. Kenny dumps the bundle with Mark in a big pile of dirty laundry. The Technicians run for an idling Jeep. They sling the cases into the rear of the vehicle which in turn accelerates away hard, curving across the runway for another waiting plane. KENNY JR. smirk at Kevin. A PHONE RINGS as the kids cry out en masse. Kenny glances up at the wall. There are two phones, side by side. One RED, one BLACK. It's the black one ringing. Helen answers. Kenny goes back to his papers. Flying switches, flickering lights, humming motors. It's an eerie dance of technological black magic. Another pair of Interpreters loom out of the darkness, side by side, ghostly looking, their glasses reflecting the glare of the light table, like magicians staring into a crystal ball. He approaches the double doors at the end of the hall guarded by a cluster of SECRET SERVICE AGENTS. An agent opens one of the doors. The figure lowers the paper. It is PRESIDENT JOHN F. KENNEDY. He's wearing boxers and a tank top. Unshaven. Bed-head. Kenny O'Donnell, former ward-pol and long-time Kennedy man, is his Chief of Staff... The President rattles the paper. Kenny collapses in the chair But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. | Who was John A. Scali? | A reporter for ABC news. |
deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double | What did President Kennedy authorizes? | Attacks on the missiles site and an invasion of Cuba. |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, | What type of plane was sent to Cuba to gather intelligence for attack? | U-2 |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double | When was the areal photos found the Soviets carrying weapons to Cuba? | October, 1962 |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, | Who was the President during this story? | President Kennedy |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double | What did Kennedy want to avoid by not atracking the Soviets? | War with nuclear weapons |
doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. | What did the public describe that the administration settled on? | A quarenteen |
deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, | What must the navy do in this quarenteen? | Stop and inspect all the ships for weapons entering Cuba |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, pinned between his ear and shoulder. Kenny looks back to the <b> T.V. </b> <b> INT. U.N. SECURITY COUNCIL CHAMBERS - CONTINUOUS </b> Adlai fixes Zorin in his seat, his voice rising. Zorin, headphones on, listens to his own translation, but doesn't respond, acts bored. It gets Adlai's goat, and he begins to lose his cool. A rumble from the U.N. The CAMERA FINDS Adlai's hand SHAKING, gripping his pen. The diplomatic world GASPS as Adlai drops all pretense of civility, all statesman-like grace. There's laughter at Zorin's refusal to be bullied: but it's nervous laughter, not the polite stuff of diplomatic tete-a tete. The RUMBLE in the room grows louder. He lowers the phone to the receiver. Kenny shoots him a triumphant smile. The President looks at Kenny, shakes his head, a big smile on his face. And Zorin cracks. He looks uneasily to his delegation. They bend forward to consult. Adlai sits back in his chair, draping his arms over its wings with the confidence of someone who knows he's kicked ass. Adlai looks around the room while he's waiting for his answer, managing not to smile. The diplomatic world is scandalized. At last Zorin regroups, lifts his head from his huddle. The room explodes in laughter. Not just nervous any more, not just polite. They're laughing at Zorin's parliamentary ploy blowing up in his face. Zorin's smile is gone, his smooth facade destroyed. And he looks like the biggest fool in the world. Adlai stares at the beet-faced man with disdain. At last, Adlai stands, gestures to the door to the hall behind him. The PHOTO INTERPRETERS come racing in with their briefing boards. The Delegates RUMBLE in interest, rise from their seats enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps | What did the Secretary of State say when Soviet ships turned back? | "We are eyeball to eyeball, and I think the other fellow just blinked." Meaning we are close and they gave an openning. |
DARKNESS. As the MAIN TITLES BEGIN, the theater thrums with a subsonic HISS which mounts in all the rattling power of THX, and we... Kenny sits up to the morning bedlam of the O'Donnell house. KIDS screech, doors bang all over. Kenny pushes Mark over, rolls out of bed, snatches up the corners of the blanket and hoists Mark over his shoulder in a screaming, kicking bundle. They kiss in passing. Daughter KATHY, 12, races by in angry pursuit of her twin, KEVIN, 12. Kenny dumps the bundle with Mark in a big pile of dirty laundry. The Technicians run for an idling Jeep. They sling the cases into the rear of the vehicle which in turn accelerates away hard, curving across the runway for another waiting plane. KENNY JR. smirk at Kevin. A PHONE RINGS as the kids cry out en masse. Kenny glances up at the wall. There are two phones, side by side. One RED, one BLACK. It's the black one ringing. Helen answers. Kenny goes back to his papers. Flying switches, flickering lights, humming motors. It's an eerie dance of technological black magic. Another pair of Interpreters loom out of the darkness, side by side, ghostly looking, their glasses reflecting the glare of the light table, like magicians staring into a crystal ball. He approaches the double doors at the end of the hall guarded by a cluster of SECRET SERVICE AGENTS. An agent opens one of the doors. The figure lowers the paper. It is PRESIDENT JOHN F. KENNEDY. He's wearing boxers and a tank top. Unshaven. Bed-head. Kenny O'Donnell, former ward-pol and long-time Kennedy man, is his Chief of Staff... The President rattles the paper. Kenny collapses in the chair enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps ear. Kenny doesn't even blink, but Sorensen does a poorer job at hiding his reaction. Fortunately, the conversation is cut short as a dozen FLASHBULBS suddenly go off on a dozen cameras as the reporters crush in on the Oval Office, and Reston is swept forward. The President stares at Gromyko as the translator finishes translating. Gromyko sits there, enigmatic, cold, unreadable. The translator finishes, and Gromyko stops him with a gesture so he can answer in his own accented English. The President hides his fury masterfully, and gazing over his glasses, asks: A beat. And Gromyko's response is flat, sure, steady: Kenny's blazing eyes could drill holes in the back of Gromyko's head. His gaze swings to the PRESIDENT'S DESK. BENEATH THE DESK sit the BRIEFING BOARDS with the evidence. Bobby gestures to the vanishing delegation, now being HARANGUED OC by the press. The President comes out of the next door down the hall, the Oval Office. He turns and sees Kenny and Bobby. He's livid. The prospect disturbs the three men. The President spins on him, unsure he heard correctly. The President pauses, looks at Bobby. Bobby shakes his head: don't look at me. Kenny stares at him, and the light dawns on Pierre. Something big is going on and he's been cut out of it. He stalks off. Suddenly a MESSENGER hustles over to Kenny, hands him a note. Kenny makes eye contact with the President, nods and leaves. Kenny freezes, then explodes. Reston is taken aback. Stung silence for a beat. Kenny's response is far louder than any "yes." Now Kenny realizes it. And Kenny looks away, upset, but when he turns back to Reston, all that's there is his poker face. The elevator and Sorensen look at McNamara, grateful. The President leans forward. Sensing he's about to speak, all eyes turn to him. Most EXCOM is nodding, agreeing. McCone shakes his head in disgust. Taylor sits in silence. It's a terrible responsibility to bear. The room is silent. At last Bobby looks up from his folded hands to his brother. The President stares back. There is nobody else who can do this. Only Bobby. His brother. Bobby nods, taking up the gauntlet. Sorensen and Bobby rise as one, head for the doors. Bobby and Kenny exchange a look. And then, out of the shadows, in the f.g., steps Kenny in his own coat, his breath frosting in the late-night air. Bobby sees him, and knows he is not so alone anymore. Kenny opens the driver's side door. The Secret Service LIMO DRIVER peers out. Kenny's nod and look -- there's no arguing. The Limo Driver hops out, and Kenny gets in. Bobby stands there outside for a beat. He tries to hide how touched he is, but can't completely. Kenny starts up the engine. Bobby smiles a twisted smile. As the car pulls away, the two men sit in silence, neither willing to admit how glad the other is there. Kenny glances over at him. Bobby stares back. Bobby looks at him. Kenny means it. He looks away. Bobby shifts, awkward. Kenny looks him. This isn't the way to the Justice Department. But he complies. And Bobby, in the silence and closeness of the car, turns on Kenny - anguished, knowing his life is at its climax. Kenny looks to him, moved, not knowing what to say. He looks to Kenny, searching his face, then away, the table, gray. He almost can't say it, can't look the President in the face. With a barrage of shouted orders in Russian, and a whine of the ERECTOR's engines, THE MISSILE BEGINS TO RISE. It stops, vertical. A pall falls over the room as LeMay explains. They all look to the President. Kenny stares, in a private hell, blacker and more complete than anyone should ever know. In that shocked silence each man grapples with failure. The Best and the Brightest could not prevent what must come next. The President gives Kenny a meaningful look. Taylor exits. Kenny rises, gives the President an almost imperceptible nod, as he prepares to leave in Taylor's wake. Kenny takes a breath, ready to start the shuck-and-jive... but for some reason doesn't. The young Major smiles to himself, to the phone. And he throws the throttle forward, A silver glint appears in the center of the horizon. It grows larger. Then larger still. It is the U-2. We barely have time to register the rising hiss of its engines, when it FILLS THE SCREEN and BOOMS PAST, leaving us standing still. The CAMERA PANS to follow it, but it's already dwindled to a speck, and we feel how fast 600 miles an hour really is. Anderson watches the number on the film-remaining counter spool down. He stares out the window. The towering clouds below rise up magnificent, glorious... a glimpse of heaven. Rapt, Anderson stares. And then suddenly a BLARING ALARM GOES OFF IN THE COCKPIT. It shocks Anderson around to the controls. It's his MISSILE WARNING LIGHT. Anderson' hands flash out to the joystick, turning off the cameras, disabling autopilot. He banks the U-2 hard. Then ANOTHER. | What does Kenny O'Donnell tell the spy plane pilots not to do? | Report if they was fired upon |
arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. the tension. Kenny stares him in the eye, serious, hushed. A friend. McNamara enters the elevator. He turns, stands there facing Kenny for a dramatic beat. Then the doors close. He hangs up, hears SHOUTING from the Oval Office. He goes to the door, enters -- Kenny realizes he's not joking as he spots Bobby sitting on the couch behind Taylor, pale as a ghost. Taylor, embattled, wants to die, but stands there like a man. The President punches his desk. But Taylor knows this very well. And the way he's suffering, it's clear he's taking the heat for his underlings. From over on the couch Bobby chimes in: The President glances at Kenny who stands there, speechless. The General leaves. Kenny closes the door, wanders deeper into the office. He looks from the President to Bobby. There's a long, long beat of shocked silence. Bobby is disgusted, but knows they're right. The President collapses in his rocking chair. Kenny leans over the back of the sofa next to Bobby. Bobby looks at the President, meaningful. The President turns to Kenny. Bundy turns back to him. Kenny grinds his jaw, but doesn't say anything. He agrees. Bundy steps up to him, confiding. Kenny prickles, intense, but Bundy presses on, too wrapped up in his own thinking to notice. Kenny gets in his face, intimidating. The President's eyes flick over to him in the mirror. The President turns around, heads over to the T.V. Kenny folds his arms, disgusted. Kenny throws the Lippman article at him. Silence. Terrible silence. That paralyzes Bobby. Kenny stares at him. He means it, but regrets it, too. But Bobby gets it. Kenny shifts gears, lets it go. DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, | What did Kennedy authorize to buy more time? | Invasion of Cuba, and attacks on missile sites. |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. | Who did Kennedy send to meet the Soviets as a final effort to avoid war? | His brother Robert Kennedy. |
deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. the tension. Kenny stares him in the eye, serious, hushed. A friend. McNamara enters the elevator. He turns, stands there facing Kenny for a dramatic beat. Then the doors close. He hangs up, hears SHOUTING from the Oval Office. He goes to the door, enters -- Kenny realizes he's not joking as he spots Bobby sitting on the couch behind Taylor, pale as a ghost. Taylor, embattled, wants to die, but stands there like a man. The President punches his desk. But Taylor knows this very well. And the way he's suffering, it's clear he's taking the heat for his underlings. From over on the couch Bobby chimes in: The President glances at Kenny who stands there, speechless. The General leaves. Kenny closes the door, wanders deeper into the office. He looks from the President to Bobby. There's a long, long beat of shocked silence. Bobby is disgusted, but knows they're right. The President collapses in his rocking chair. Kenny leans over the back of the sofa next to Bobby. Bobby looks at the President, meaningful. The President turns to Kenny. Bundy turns back to him. Kenny grinds his jaw, but doesn't say anything. He agrees. Bundy steps up to him, confiding. Kenny prickles, intense, but Bundy presses on, too wrapped up in his own thinking to notice. Kenny gets in his face, intimidating. The President's eyes flick over to him in the mirror. The President turns around, heads over to the T.V. Kenny folds his arms, disgusted. Kenny throws the Lippman article at him. Silence. Terrible silence. That paralyzes Bobby. Kenny stares at him. He means it, but regrets it, too. But Bobby gets it. Kenny shifts gears, lets it go. enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps | What is Kennedy doing at the end of the story? | Dictating a letter |
doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. the table, gray. He almost can't say it, can't look the President in the face. With a barrage of shouted orders in Russian, and a whine of the ERECTOR's engines, THE MISSILE BEGINS TO RISE. It stops, vertical. A pall falls over the room as LeMay explains. They all look to the President. Kenny stares, in a private hell, blacker and more complete than anyone should ever know. In that shocked silence each man grapples with failure. The Best and the Brightest could not prevent what must come next. The President gives Kenny a meaningful look. Taylor exits. Kenny rises, gives the President an almost imperceptible nod, as he prepares to leave in Taylor's wake. Kenny takes a breath, ready to start the shuck-and-jive... but for some reason doesn't. The young Major smiles to himself, to the phone. And he throws the throttle forward, A silver glint appears in the center of the horizon. It grows larger. Then larger still. It is the U-2. We barely have time to register the rising hiss of its engines, when it FILLS THE SCREEN and BOOMS PAST, leaving us standing still. The CAMERA PANS to follow it, but it's already dwindled to a speck, and we feel how fast 600 miles an hour really is. Anderson watches the number on the film-remaining counter spool down. He stares out the window. The towering clouds below rise up magnificent, glorious... a glimpse of heaven. Rapt, Anderson stares. And then suddenly a BLARING ALARM GOES OFF IN THE COCKPIT. It shocks Anderson around to the controls. It's his MISSILE WARNING LIGHT. Anderson' hands flash out to the joystick, turning off the cameras, disabling autopilot. He banks the U-2 hard. Then ANOTHER. | What was the name of the pilot who got shot down during the reconnaissance mission to Cuba? | Rudolf |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President | Who goes to speak to the Soviet ambassador the weekend before invading Cuba? | Robert F. Kennedy |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. pinned between his ear and shoulder. Kenny looks back to the <b> T.V. </b> <b> INT. U.N. SECURITY COUNCIL CHAMBERS - CONTINUOUS </b> Adlai fixes Zorin in his seat, his voice rising. Zorin, headphones on, listens to his own translation, but doesn't respond, acts bored. It gets Adlai's goat, and he begins to lose his cool. A rumble from the U.N. The CAMERA FINDS Adlai's hand SHAKING, gripping his pen. The diplomatic world GASPS as Adlai drops all pretense of civility, all statesman-like grace. There's laughter at Zorin's refusal to be bullied: but it's nervous laughter, not the polite stuff of diplomatic tete-a tete. The RUMBLE in the room grows louder. He lowers the phone to the receiver. Kenny shoots him a triumphant smile. The President looks at Kenny, shakes his head, a big smile on his face. And Zorin cracks. He looks uneasily to his delegation. They bend forward to consult. Adlai sits back in his chair, draping his arms over its wings with the confidence of someone who knows he's kicked ass. Adlai looks around the room while he's waiting for his answer, managing not to smile. The diplomatic world is scandalized. At last Zorin regroups, lifts his head from his huddle. The room explodes in laughter. Not just nervous any more, not just polite. They're laughing at Zorin's parliamentary ploy blowing up in his face. Zorin's smile is gone, his smooth facade destroyed. And he looks like the biggest fool in the world. Adlai stares at the beet-faced man with disdain. At last, Adlai stands, gestures to the door to the hall behind him. The PHOTO INTERPRETERS come racing in with their briefing boards. The Delegates RUMBLE in interest, rise from their seats enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps | The Soviet Union placed nuclear missiles in which country? | Cuba |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President | If President Kennedy would have invaded Cuba, the Soviet Union likely would invade what important city? | Berlin |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. pinned between his ear and shoulder. Kenny looks back to the <b> T.V. </b> <b> INT. U.N. SECURITY COUNCIL CHAMBERS - CONTINUOUS </b> Adlai fixes Zorin in his seat, his voice rising. Zorin, headphones on, listens to his own translation, but doesn't respond, acts bored. It gets Adlai's goat, and he begins to lose his cool. A rumble from the U.N. The CAMERA FINDS Adlai's hand SHAKING, gripping his pen. The diplomatic world GASPS as Adlai drops all pretense of civility, all statesman-like grace. There's laughter at Zorin's refusal to be bullied: but it's nervous laughter, not the polite stuff of diplomatic tete-a tete. The RUMBLE in the room grows louder. He lowers the phone to the receiver. Kenny shoots him a triumphant smile. The President looks at Kenny, shakes his head, a big smile on his face. And Zorin cracks. He looks uneasily to his delegation. They bend forward to consult. Adlai sits back in his chair, draping his arms over its wings with the confidence of someone who knows he's kicked ass. Adlai looks around the room while he's waiting for his answer, managing not to smile. The diplomatic world is scandalized. At last Zorin regroups, lifts his head from his huddle. The room explodes in laughter. Not just nervous any more, not just polite. They're laughing at Zorin's parliamentary ploy blowing up in his face. Zorin's smile is gone, his smooth facade destroyed. And he looks like the biggest fool in the world. Adlai stares at the beet-faced man with disdain. At last, Adlai stands, gestures to the door to the hall behind him. The PHOTO INTERPRETERS come racing in with their briefing boards. The Delegates RUMBLE in interest, rise from their seats | The Soviet Union wanted the United States to remove their Jupiter missiles from which country? | The missiles were to be removed from Cuba. |
doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. enters from the Oval Office. ADMIRAL GEORGE ANDERSON, 50s, dapper, the Chief of Naval Operations, nods from the far end of the table. Anderson signals A BRIEFING OFFICER who hits the lights and an overhead projector which SMASH CUTS TO: Bobby stops, stares directly at the Admiral. Kenny looks at the President who remains unmoved, unreadable. The President glances at McNamara. He pushes Ecker's personnel file across the table, and as the President opens it, on ECKER'S PHOTO, we SMASH CUT TO: The other pilots heckle him, but are muted by Taylor. Kenny catches the President's eye. Kenny glances at the door. Step outside, I need to talk to you. Kenny's right, and the President looks away in frustration. Thep President stares intently at Kenny. Kenny glances at the door, his voice hushed. He hesitates. The President understands. He shakes his head, paces away. The President turns away, considers. Then turns back. Jesus Christ...Kenny is daunted. For a beat he just stares. The President moves for the Cabinet Room. Kenny slaps the dismayed Rusk on the back, heads off down a hall away from the Cabinet Room. The CAMERA PANS down the line... and stops on a middle-aged matron at the end - the sternest, most scary of them all. Her name is MARGARET. Her voice is so severe, so smoker-gravelled, it makes the blood run cold. This is the woman Kenny's looking for. Nearby, a YOUNG PILOT tinkers with a $300,000 spy camera. Suddenly, the door opens and a pale DUTY SERGEANT enters. Did he hear right? Ecker down, deeply affected. Suddenly, A BELL RINGS. A TELETYPE goes off. Ecker knows it's for him. His orders. Wilhemy jumps off, then they're at Ecker's plane, and he jumps | What is the name of the nuclear weapons test that proceeded without the President's knowledge? | Bluegill Triple Prime |
deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. | The Soviet Union offered to withdraw missiles if the United States agreed to not what? | Invade Cuba |
deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. | What solution does Kennedy try first as something that will not be viewed as an act of war? | Quarantine |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President steps forward with a pointer. A bulldozer TEARS through the undergrowth. FILLING THE SCREEN. A 70-foot long MISSILE TRANSPORTER creeps along in the bulldozer's wake like a vast hearse with its shrouded cargo. The President stares at Lundahl, and beating out each word. Lundahl looks around the room. Everyone is hanging. The men come to grips with their own fears, own anger. General Taylor drops a memo on the table WHICH BECOMES: Kenny lets out his breath. He catches Bobby's eye. This is unbelievable. There's angry agreement. The President cuts it off. Rusk glances to his team at the end of the table. Ball, Johnson, Martin, Thompson and Stevenson. There's silence at the table. Some nods. Understanding. And there it is. The clock is running. The room falls silent. The President leans back in his chair, studying the circle of men around the table, weighing them. Kenny and the others watch him in silence. A long, dramatic pause. A course that will change history is about to be chosen. The President leans forward, folds his hands on the table. Fated. Grave. A long moment of silence as they move along again. The guys stop again. The autumn day is bright, warm, alive. The air, the distant city sounds derail the relentless train of logic for a beat. And in their faces we see that all three men, for the first time, feel the enormity of war, its shadow over everything. It's only a couple of steps away. Steps that they're seriously contemplating. Pained, the President turns away. Kenny and the President look at him. Bobby nods. Kenny snorts a laugh. Bobby shoots him a cross look. The President stops. DOOR to the Oval Office suddenly opens. Kenny glances up. President Kennedy stands there in the doorway. Kenny thinks he's reacting to the tirade. The Assistants leave, shutting the door after them. Kenny rises. Kenny starts for the door. The President lets Kenny by into... THE OTHER END OF THE ROOM where the Interpreters, their crewcut chief, ARTHUR LUNDAHL, 50's, and Bundy stare at him. They're surrounded by PRESENTATION BOARDS propped up around the fireplace. The President's rocking chair and sofas. In eerie silence, as all eyes follow him, Kenny makes his way among the presentation boards with the U-2 imagery, stops in front of the picture of the six canvas-covered objects. It unleashes a wave of memories. He puts his hand out to touch the image, then turns and looks to the President, knowing what they must be. Shock. Silence. Kenny glances to the other men. Kenny hangs up. The President enters. A beat. And in that beat, there's a void. The two men are off their emotional stride, trying to grope their way out of shock. Kenny nods, acknowledging the feeling And we glimpse the chemistry of these guys by Bobby's absence. It's like they're missing their third wheel. The President and Kenny hear him out in the hall. And the tension goes out of them instantly. They turn to the door as BOBBY KENNEDY, 37, the President's younger brother/Attorney General, enters. Bobby shuts the door behind him, falls into Kenny's chair, and clearly grappling with his own disbelief, is hushed. The President paces away, grim. And before our eyes, the three men's game faces appear, and they become the hard-ass leaders of the United States. Secret Service Agents throw open the massive double | In what year did the United States discover the Soviet Union putting missiles in Cuba? | 1962 |
Adlai lowers the phone to its cradle. An ANXIOUS STAFFER sticks his head in the door, a concerned, questioning look on his face. Adlai adjusts his tie. HIS HAND IS SHAKING. He notices it, and manages a brave smile. And then a DOORMAN throws open the door for him. Adlai pauses. Then as the first SECURITY COUNCIL MEMBERS begin to notice him, he heads for the vacant seats for the American delegation. The ROMANIAN DELEGATE saws the air. But as the Romanian wheezes on, all eyes are on Adlai. Adlai takes his seat, his Staffers behind him. They pass him up papers, and he spreads them before him, taking no notice that the entire room is staring at him. Adlai finally glances up. Across the circle sits Zorin, in the flesh, at the head of his own tough-looking DELEGATION. He acknowledges Adlai with a superior smile. The Romanian Delegate leans back from his microphone. Zorin leans forward, begins in Russian, and the Translator's voice catches up with him. His tone, body language, composure are all that of complete confidence. Adlai nods, returns to his notes, as Zorin continues. The audience laughs. Zorin basks in it. And then grows stern. Bobby looks back at Kenny. Zorin leans back in his chair. Adlai finally looks up. He meets Zorin's icy bravura. He notes the cameras around the room. This is the grandest stage of all. And in that moment, Adlai becomes the spokesman for America. Adlai's tone is definitive. A tremor of interest passes through the various delegations. They all crowd the T.V. as if it were a title fight. Except for Bobby. Kenny glances over at him. He has the phone doors to the Cabinet Room. And the doors close on the eighteen men of EXCOM: The Executive Committee of the National Security Council. They are the legendary "Best and Brightest." The President makes his way down the line: shakes hands with Secretary of State DEAN RUSK, 53, distinguished, with a soft, Georgian accent, a distant reserve. The President leans past him, grasps the hand of the Secretary of Defense ROBERT MCNAMARA, 46, a gifted managerial genius... the price of which is a cold, hard personality. OFF TO THE SIDE, Kenny greets Vice President LYNDON JOHNSON, 54, and ADLAI STEVENSON, 62, Representative to the U.N., intellectual, well-spoken. The silver-haired war hero and politically savvy Chairman of The Joint Chiefs of Staff, GENERAL MAXWELL TAYLOR, 50s, shakes the President's hand. He gestures to GENERAL MARSHALL CARTER, Deputy Chief of Operations for the CIA. Carter nods to the President. ROSWELL GILPATRIC, studious Deputy Secretary of Defense. PAUL NITZE, 55, the detail-driven facts man, Assistant Secretary of Defense. GEORGE BALL, 50s, Undersecretary of State. Eloquent, a man of conscience. U. ALEXIS JOHNSON, Deputy Under Secretary of State. EDWARD MARTIN, Assistant Secretary of State for Latin America. LLEWELLYN THOMPSON, laid back, rumpled Soviet Affairs Advisor. DON WILSON, Deputy Director of the USIA. The President sits down at the center of the table, Rusk and McNamara to either side, and the others resume their seats. Bobby takes one of the over-stuffed chairs at the table. Kenny finds one along the wall behind the President, under the windows to the Rose Garden to TED SORENSEN, 30s, the President's legal counsel and speech writer. They greet each other coolly. The room falls silent. The President looks across the table to GENERAL CARTER. Lundahl, standing at the end of the room with briefing boards, deal-maker. Dobrynin holds his breath. Dobrynin lets out his breath. Dobrynin grasps the move immediately, understanding the ramifications. Still he hesitates a moment. Meaning this is the bone he can show the hard line. Dobrynin struggles internally, knowing what Bobby has done, wanting to hug him. It comes across as agitation. Dobrynin rises from his chair. Bobby rises with him. Dobrynin heads for the door. Half way there he turns back to Bobby, deeply moved. Deeply grateful. And on the desk, tucked almost out of sight, sits a small, humble wooden plaque. It's turned to face the occupant of the chair behind the desk. Kenny reaches out, turns it around. It is the Breton's Fisherman's Prayer. Kenny holds on the plaque a beat, and looks up at the open French door to the Rose Garden. The curtains swirl around him in the wind as he goes through the door and out -- The President gestures out across the South Lawn to the gleaming Washington Monument. The President and Bobby nod at the justice of that remark. Kenny looks at the President. The President feels it, and gazes back to him. The three of them stare out at the glittering city. The grandness of the world lies before them, and they are deciding its fate, and are humbled by the awfulness of it. The silence is beyond power. And for a long moment, they know not to disturb it. There is nothing left to say. The President, at last, finishes his drink. He looks at Kenny. Kenny nods. He knows that now too. He turns to his house. The lights are all out. He notices he's CLUTCHING the handle of his briefcase. His arrives. Kenny boards the elevator. The doors shut on Scotty. Salinger waits on the sidewalk, and after the limo pulls away, the Press pushes in on him. Pierre's face is pale - he's just been told everything. At long last... Kenny looks at Bobby, relieved. They've bought time to find a settlement. Bobby smiles a small smile: what were you so worried about? McNamara folder in hand, opens it, SMASH CUTTING US TO: The CAMERA races along its side, discovering TARPULINED OBJECTS on deck, and on its stack, the RED HAMMER AND SICKLE. The President gazes from one expectant face to another. But he himself remains unreadable. Adlai clears his throat. Everyone looks over at him. He stares down at his clasped hands for a beat. He's anguished about what he's going to say. He smiles weakly, but gets no response from anyone. Adlai looks for support around the room, but meets only stony gazes. From McCone and General Taylor, contempt. Dead silence for a long, long beat. Kenny's heart goes out to Stevenson as he watches the man commit political suicide. Even Sorensen, standing behind him, unconsciously moves away. At last the President speaks. He stares out at the Ellipse where a little-league football game sweeps across the grass, the shouts and screams of the CHILDREN, so alive, floating to them on the wind. Suddenly out of the house totters Adlai, highball in hand. Glassy-eyed, he grins at Kenny and joins him. Kenny shrugs. Adlai takes a long drink, closes his eyes. Kenny has no answer to that. He looks down, pained for Adlai. The President sits nearby, head bowed. But Kenny knows he's not thinking about the mass. And when the President But Bundy and McCone are too wrapped up in their schemes to notice Kenny's distress. And Kenny, sad, moved beyond all pity and loathing, realizes it is possible. They haven't gotten it. He is speechless, helplessly shaking his head. Bundy finally sees something isn't right with him. Kenny can't speak. Can't find the words. But tongue-tied finally manages: McNamara and Bundy look at him funny. Kenny just looks at them, eyes filled with sorrow. They begin to feel uncomfortable. Kenny looks away, unable to bear it. Kenny looks back at them. They just stare at him. And with secret smiles, superior smiles, they nod. But they don't understand, and together turn away. Kenny watches them, heads bowed in discussion, disappear into the labyrinth of the West Wing. Kenny turns his back on them. Kenny meets the President's gaze in the mirror, and the two men know they have been to the same mountaintop. A beat. Kenny stands straight, ready for action, ready for some necessary thing. Ready to go back into the game. Kenny starts to leave, but at the door, turns back. The President looks at him in the mirror. The President smiles an ever-so-faint smile. Kenny turns and leaves the room, vanishing, and as we HOLD on the empty doorway, the simple, whistled melody of O'DONNELL ABOO drifts from the hallway beyond, becoming our END MUSIC. The President was assassinated on November 22nd, a year after the crisis ended. Bobby was assassinated minutes later. | Who was the ambassador from the Soviet Union that met with Robert Kennedy? | Anatoly Dobrynin |
KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other | What portrait is being unveiled in Los Angeles? | Whistler's Mother. |
He gets his delighted face right up to the screen. He sings along with the catchy tune. KEVIN is getting frustrated. KEVIN clicks on a cuckoo clock in the WIZARD's room. The cuckoo pops out holding a key in its beak. BEAN scans the monitor screen: he spots a little frog at the bottom of the scene. His eyes light up. He takes the mouse and rapidly and repeatedly clicks on the frog. The frog croaks and jumps off a little round stone. KEVIN gets excited. BEAN grins and makes WINKLE pick up the stone. Then he clicks through to inside the wizard's house. He makes WINKLE throw the stone at the cuckoo which instantly drops the key from its beak. Pause. Jennifer looks around. She can't help but hear. Not a happy experience. He is asking her for softness. Pause. At which moment BEAN enters wearing pointy hat. He helps himself to a melon from a bowl. He grins and exits. ALISON looks at DAVID sadly. Almost instantly, BEAN is back. He rummages through a drawer and takes out some large elastic bands. And leaves. He puts Bambi down on the side-table, on the flat surface of his CD player. BEAN appears again behind her, now looking even madder. Pointy hat, large pointy ears made from melon peel, held in place by the rubber band stretched round his face ~ huge front teeth also cut from the melon. He grins gleefully. DAVID and ALISON just stare. BEAN is followed by KEVIN who wears the same ears and teeth. It is quite loud. JENNIFER looks for the remote control. BEAN helpfully picks up a remote control from the sofa and points it across the KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves Enter KEVIN, their smart young son, strolling through. And KEVIN exits. ALISON isn't really listening. Much tension. Every conceivable thing that can be opened - cupboards, drawers, fridge -sports an oversized padlock. Even Bean's old G.P.O. phone has one on its dial. He then, slightly, incomprehensibly, begins to tie string it around various objects in the flat. The fridge - the corner of a chair, a couch leg. CUT TO back inside the flat. we now understand the string - as all the furniture starts to move across the flat. It works incredibly neatly the chair reaches the door He sits there, guiltlessly, as the Grand Man returns. Simultaneously, the man tries to suck the wet cigar, and the Old woman drinks the disgusting tea. A horrid experience for both. BEAN couldn't be more thrilled. There follows a sequence of short moments from this nightmare flight. 1/ The Old Tea-Drinking Lady is being helped with her ,luggage. A hostess slides it into the compartment above her head. 2/ BEAN sits down - and who should be his next door neighbour? The Grand Man, whose name is REYNOLDS. BEAN smiles merrily. The affection is not mutual. BEAN then switches on the noisy overhead air blower. Then can't turn it down again. It's very stuck. He manages however to push it away from his face - straight into REYNOLDS' . REYNOLDS looks annoyed, BEAN guiltless. And rams it into the blower. Both of them are relieved. REYNOLDS picks up his champagne to have his first proper sip. And whapp! The spitball, under high pressure, shoots into it, sending champagne spraying all over REYNOLDS. Not a good start. 3/--BEAN is reading the | Where does Mr. Bean Work? | The National Gallery in London. |
proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other way of reviving Jennifer. DAVID approaches the opposite side of the bed and gets ready to pounce ... CUT TO: a close-up of the monitor. The he-man chases the pulse light ... DAVID dives across the bed just as he man swipes the pulse light with his sword. DAVID has landed on top of JENNIFER. The pulse light explodes and the monitor screen whites-out. JENNIFER wakes up with a start. ALISON covers her mouth, tearful, but she can't hold it back. She laughs. <b> </b>DAVID and KEVIN stare at JENNIFER. They can't help but join in the laughter. JENNIFER has no idea what's going on. BEAN is happy that everyone is happy. ALISON grins at him. Then at BEAN. He just stands there. okay - you grind the beans, and He moves towards her - his arms slip round her waist. ... put them in the .... ( but she can't concentrate I don't believe this. I'm being seduced by my own husband. Pause. They are just about to kiss when BEAN enters. He's a bit impatient. They jump apart. The moment is gone. ALISON takes out two single socks which have been neatly wrapped around a couple of drinks mats and put in the toaster slots. BEAN beams at her. He's impressed - and feels he's accepted. He leaves. CUT TO BERNIE, looking smug next to DAVID, who is pretty shocked by this. BEAN looks pleased - but then realises it's not a suitable emotion ~ so nods sagely. Insurance? Not a chance. Those bastards never pay. So, surely we're bankrupt? Surely your jobs are forfeit? Surely you're back on the unemployment lines, scraping his teeth. He calls through the bedroom door. He finishes his teeth then runs the hot faucet. He exits to bedroom as BEAN enters from hall with dirty socks. (Long pause) ALISON smiles in spite of herself. She turns over and puts her arm around DAVID. She gets up close to his face. ALISON smiles, sleepily, and goes to kiss him. She stops and sniffs. Thoroughly put off, she rolls over and closes her eyes. Pause ... then a click of the bathroom lock ... Jennifer comes out. Then there's another click. BEAN breezes out of Jennifer's bedroom, past the family, in his pyjamas, carrying a wash bag and a towel over his arm. He waves to them friendly, slips into the bathroom and closes the door. The family stare in amazement. DAVID is thrown. He looks down at his tie. JENNIFER looks grumpy. KEVIN is eating happily. The box of salt teaches the bottom of the book and topples over the edge of the table. ( The BEETHOVEN bust' teeters on the edge of its book). The salt lands in a plastic funnel, taped to the top of a bamboo stick. The bottom of the stick sits on the BBC 2 button of a T.V. remote control. Close-up of its infrared L.E.D. as it flashes once. The phone stops ringing. CUT TO: the T.V. comes on at the start of a documentary about grizzly bears. A voice-over begins a narration. CUT TO: close on TEDDY sitting in his cardboard box hotel. Flickering light <b> </b> from the T.V. plays on his face. They just stare, dumb-founded. BEAN suddenly yanks on the hand-brake. DAVID's head hits the windshield with a sickening thud. BEAN reaches for | Why does David become depressed? | Mr. Bean ruins the painting. |
KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other room. Too late! BEAN punches a button and the lid of the CD player launches the Bambi into the air. DAVID sees it. In slow motion he dives dramatically and just misses it. It smashes on the floor. BEAN raises his eyes heavenwards, shakes his head and tuts. He thinks DAVID is a real Butter Fingers. JENNIFER, upset, has found the TV remote and unintentionally switches from the Vampire game to a TV channel. It's very loud. ALISON gives DAVID a tearful look, and shakes her head. She gets up and walks away. DAVID heads for Mr BEAN's room, and knocks cautiously on the door. DAVID enters - Camera follows as DAVID finds his way through BEAN's washing hanging from strings across the room. BEAN is sticking things in a picture album. BEAN gives him an affable smile. In a pause before he quite gathers himself to broach the difficult subject, DAVID asks a polite question. BEAN acquiesces. He starts from the beginning, with pictures of him as a kid. Always standing on his own. A whole page of Teddy. Then three pages of BEAN's mini with dates, on labels, going way back. Then a whole page of garden gnomes. BEAN starts to look for something in particular. DAVID uses the pause to broach the awful subject. BEAN nods. DAVID smiles and goes to the door. BE-AN waves good-bye a little rudely and gets back to the album. Even when we feel sorry for him, he's a little rude. DAVID walks away, shaking his head. DAVID feels the other side of the bed. No-one there. He walks into the bathroom and turns on the | What food item does Mr. Bean use to recreate the painting? | Egg whites. |
shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the DAVID is still rattled. DAVID looks askance at BEAN. BERNIE hurries up and takes DAVID to one side. He heads off with BERNIE. Back at the counter. BEAN, KEVIN & ANNIE. BEAN is unsettled by this. He gives a shudder and heads for the gallery. DAVID slightly embarrassed not to be included in the winning team. He looks <b> </b>to the poster of Whistler's Mother behind GRIERSON's desk. He clicks again, and a tiny talking Toulouse Lautrec starts to explain the provenance of the painting. He exits. BERNIE is growing in confidence - and getting nastier by the minute. DAVID pulls a face at ELMER. 1. Gardeners gardening, window cleaners cleaning, polishers polishing etc. And someone empties a dustbin, in the midst of which we glimpse something which might be a scrunched up old Whistler painting. <b> </b>2. BERNIE watches as someone plugs in a plug - and a huge video screen in the gallery flickers and starts up. 3. ANNIE at her counter, reading a book called 'The Art of Conversational. She shakes an imaginary hand and rehearses a keen conversation with an imaginary V.I.P. 5. GRIERSON watches through the front glass - a red carpet rolls itself out from the gallery's main entrance to stop by the rear door of a black car. GRIERSON takes BERNIE on to ELMER who is next in line. ELMER puts on a defiant face. DAVID shakes his head disapprovingly. GRIERSON moves BERNIE to meet DAVID. They BERNIE rudely cuts him off. BEAN smiles and gives KEVIN a thumbs-up. proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves | Who ends up with Whistler's Mother? | Mr. Bean. |
KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens room. Too late! BEAN punches a button and the lid of the CD player launches the Bambi into the air. DAVID sees it. In slow motion he dives dramatically and just misses it. It smashes on the floor. BEAN raises his eyes heavenwards, shakes his head and tuts. He thinks DAVID is a real Butter Fingers. JENNIFER, upset, has found the TV remote and unintentionally switches from the Vampire game to a TV channel. It's very loud. ALISON gives DAVID a tearful look, and shakes her head. She gets up and walks away. DAVID heads for Mr BEAN's room, and knocks cautiously on the door. DAVID enters - Camera follows as DAVID finds his way through BEAN's washing hanging from strings across the room. BEAN is sticking things in a picture album. BEAN gives him an affable smile. In a pause before he quite gathers himself to broach the difficult subject, DAVID asks a polite question. BEAN acquiesces. He starts from the beginning, with pictures of him as a kid. Always standing on his own. A whole page of Teddy. Then three pages of BEAN's mini with dates, on labels, going way back. Then a whole page of garden gnomes. BEAN starts to look for something in particular. DAVID uses the pause to broach the awful subject. BEAN nods. DAVID smiles and goes to the door. BE-AN waves good-bye a little rudely and gets back to the album. Even when we feel sorry for him, he's a little rude. DAVID walks away, shaking his head. DAVID feels the other side of the bed. No-one there. He walks into the bathroom and turns on the | What surgery does Mr. Bean perfom? | He removes a bullet from a chest. |
Enter KEVIN, their smart young son, strolling through. And KEVIN exits. ALISON isn't really listening. Much tension. Every conceivable thing that can be opened - cupboards, drawers, fridge -sports an oversized padlock. Even Bean's old G.P.O. phone has one on its dial. He then, slightly, incomprehensibly, begins to tie string it around various objects in the flat. The fridge - the corner of a chair, a couch leg. CUT TO back inside the flat. we now understand the string - as all the furniture starts to move across the flat. It works incredibly neatly the chair reaches the door He sits there, guiltlessly, as the Grand Man returns. Simultaneously, the man tries to suck the wet cigar, and the Old woman drinks the disgusting tea. A horrid experience for both. BEAN couldn't be more thrilled. There follows a sequence of short moments from this nightmare flight. 1/ The Old Tea-Drinking Lady is being helped with her ,luggage. A hostess slides it into the compartment above her head. 2/ BEAN sits down - and who should be his next door neighbour? The Grand Man, whose name is REYNOLDS. BEAN smiles merrily. The affection is not mutual. BEAN then switches on the noisy overhead air blower. Then can't turn it down again. It's very stuck. He manages however to push it away from his face - straight into REYNOLDS' . REYNOLDS looks annoyed, BEAN guiltless. And rams it into the blower. Both of them are relieved. REYNOLDS picks up his champagne to have his first proper sip. And whapp! The spitball, under high pressure, shoots into it, sending champagne spraying all over REYNOLDS. Not a good start. 3/--BEAN is reading the the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other hike. DAVID heads off. BEAN wants to follow, but needs to get rid of the stinky flowers. He turns to ANNIE and gives them to her to be rid of them. She beams with delight: after all, he DID love her. BEAN heads off with DAVID to the parking lot. As they go, DAVID puts an arm <b> </b>round BEAN. Who shoos him away instantly. No sloppiness for him. She goes to kiss BEAN - but he just sticks out his hand, and shakes it firmly. Then moves on to JENNIFER. He shakes her broken arm firmly ... and she screams again. Until the waving hand viciously cracks against the wooden front gate as the car squeezes past. Then there is suddenly a tap on his shoulder. It's BEAN, ,as though he's magically jumped there. He gives DAVID a big bear hug, a big grin, and then a little wave - and heads away. In the distance, he treads on the back of ,some one's shoe. BEAN is utterly perplexed. He looks round the corner into another empty gallery, and shakes his head. Massive cheer, bowlers in the air, massive music. Roll credits. .... straight into the huge crate he has built. A rope tied to the back bumper pulls the lid closed behind him. And cut to the plane flying through clear skies. Though, for the Lear's of course there are no clear skies ahead. way of reviving Jennifer. DAVID approaches the opposite side of the bed and gets ready to pounce ... CUT TO: a close-up of the monitor. The he-man chases the pulse light ... DAVID dives across the bed just as he man swipes the pulse light with his sword. DAVID has landed on top of JENNIFER. The pulse light explodes and the monitor screen whites-out. JENNIFER wakes up with a start. ALISON covers her mouth, tearful, but she can't hold it back. She laughs. <b> </b>DAVID and KEVIN stare at JENNIFER. They can't help but join in the laughter. JENNIFER has no idea what's going on. BEAN is happy that everyone is happy. ALISON grins at him. Then at BEAN. He just stands there. okay - you grind the beans, and He moves towards her - his arms slip round her waist. ... put them in the .... ( but she can't concentrate I don't believe this. I'm being seduced by my own husband. Pause. They are just about to kiss when BEAN enters. He's a bit impatient. They jump apart. The moment is gone. ALISON takes out two single socks which have been neatly wrapped around a couple of drinks mats and put in the toaster slots. BEAN beams at her. He's impressed - and feels he's accepted. He leaves. CUT TO BERNIE, looking smug next to DAVID, who is pretty shocked by this. BEAN looks pleased - but then realises it's not a suitable emotion ~ so nods sagely. Insurance? Not a chance. Those bastards never pay. So, surely we're bankrupt? Surely your jobs are forfeit? Surely you're back on the unemployment lines, scraping the moments before is gone. BEAN looks very contrite. At that moment, another doctor walks by. ALISON looks round, and shakes her head. BEAN kicks DAVID in the shins. DAVID looks round, puzzled. There is a poster of the human skeleton. BEAN points to the spine. DAVID looks but cannot fathom a relevant meaning from it. Another doctor comes along - the same one who they spoke to first. He's young, confident slightly arrogant. DAVID looks at the poster opposite again. Spine, ribcage, skull. Looks back at Bean gesturing to it. This time the penny drops! Spine spineless! A hint of a smile arrives on ALISON's lips. She's heard that somewhere before. DAVID turns to ALISON - she does a little tilt of her Head `WOW'. And he turns to BEAN, who points to himself, and nods .... n Come on! BEAN nods enthusiastically and backs off. She looks up at DAVID, who's looking at her. Slowly she gets close and puts her arms around him. She's a bit tearful. They look down to see KEVIN has arrived. A hospital PORTER passes, pushing the T.V. on a trolley. He yanks off the jack plug at the end of the Super Nintendo lead. Producing his small screwdriver, he starts to unscrew the console casing. She and DAVID manage to share a smile. They're going to get through this. Suddenly, we hear noise from the vampire game, coming from JENNIFER's room. KEVIN registers this and is puzzled. Then ALISON and DAVID notice it. ALISON gasps. DAVID slowly moves into the room. But BEAN is determined to keep going - it's his | Why was Jennifer in the hospital? | She was in a motorcycle accident. |
KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other | Why was Mr. Bean going to be fired? | Sleeping on the job. |
shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary | How much was the painting purchased for? | Fifty million dollars. |
He gets his delighted face right up to the screen. He sings along with the catchy tune. KEVIN is getting frustrated. KEVIN clicks on a cuckoo clock in the WIZARD's room. The cuckoo pops out holding a key in its beak. BEAN scans the monitor screen: he spots a little frog at the bottom of the scene. His eyes light up. He takes the mouse and rapidly and repeatedly clicks on the frog. The frog croaks and jumps off a little round stone. KEVIN gets excited. BEAN grins and makes WINKLE pick up the stone. Then he clicks through to inside the wizard's house. He makes WINKLE throw the stone at the cuckoo which instantly drops the key from its beak. Pause. Jennifer looks around. She can't help but hear. Not a happy experience. He is asking her for softness. Pause. At which moment BEAN enters wearing pointy hat. He helps himself to a melon from a bowl. He grins and exits. ALISON looks at DAVID sadly. Almost instantly, BEAN is back. He rummages through a drawer and takes out some large elastic bands. And leaves. He puts Bambi down on the side-table, on the flat surface of his CD player. BEAN appears again behind her, now looking even madder. Pointy hat, large pointy ears made from melon peel, held in place by the rubber band stretched round his face ~ huge front teeth also cut from the melon. He grins gleefully. DAVID and ALISON just stare. BEAN is followed by KEVIN who wears the same ears and teeth. It is quite loud. JENNIFER looks for the remote control. BEAN helpfully picks up a remote control from the sofa and points it across the shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves - then spots a tourist hiding and puts his arm around the ROBBER and gets him to take a photograph of them. BEAN removes the ROBBER's mask as the picture is taken. Forgetting himself, the ROBBER smiles for the camera. The ROBBER, jolted back to reality by the sound of approaching Police car sirens, jumps in the car and drives away. BEAN waves goodbye to the convertible as a couple of Police cars screech up. COPS jump out. DAVID approaches the scene with groceries and roses. What kind of hell has BEAN caused now? But instead of trouble, he sees the passers-by are getting to their feet, applauding BEAN and whistling! They crowd round the COPS explaining what a hero BEAN has been. BEAN hands over the gun to a COP. He doesn't really understand what all the fuss is about. He notices the BAG Sudden mutual recognition. One of the DETECTIVES lazily leaves the room. BRUTUS leans forward on his elbows. BEAN looks at h4-m blankly. BRUTUS holds up the photo. BEAN calmly takes the picture and tears it in half. He gives back the ROBBER half and puts the other half, with himself on, into his pocket. BRUTUS glares at him. BEAN grins. At last. A question he can answer. He nods, happily. The computer monitor shows the inside of the WIZARD's house. KEVIN moves the GOBLINS, and two little characters, FINGUS and WINKLE, around the room by clicking on areas in the room with his mouse. BEAN and KEVIN are both wearing pointed goblin hats made from newspaper. BEAN is interested in the computer because he likes the cute little GOBLINS. KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. | Who does Mr. Bean zap with the defibrillator? | Himself. |
it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other Enter KEVIN, their smart young son, strolling through. And KEVIN exits. ALISON isn't really listening. Much tension. Every conceivable thing that can be opened - cupboards, drawers, fridge -sports an oversized padlock. Even Bean's old G.P.O. phone has one on its dial. He then, slightly, incomprehensibly, begins to tie string it around various objects in the flat. The fridge - the corner of a chair, a couch leg. CUT TO back inside the flat. we now understand the string - as all the furniture starts to move across the flat. It works incredibly neatly the chair reaches the door He sits there, guiltlessly, as the Grand Man returns. Simultaneously, the man tries to suck the wet cigar, and the Old woman drinks the disgusting tea. A horrid experience for both. BEAN couldn't be more thrilled. There follows a sequence of short moments from this nightmare flight. 1/ The Old Tea-Drinking Lady is being helped with her ,luggage. A hostess slides it into the compartment above her head. 2/ BEAN sits down - and who should be his next door neighbour? The Grand Man, whose name is REYNOLDS. BEAN smiles merrily. The affection is not mutual. BEAN then switches on the noisy overhead air blower. Then can't turn it down again. It's very stuck. He manages however to push it away from his face - straight into REYNOLDS' . REYNOLDS looks annoyed, BEAN guiltless. And rams it into the blower. Both of them are relieved. REYNOLDS picks up his champagne to have his first proper sip. And whapp! The spitball, under high pressure, shoots into it, sending champagne spraying all over REYNOLDS. Not a good start. 3/--BEAN is reading the a living as waiters and boys? Yes. Yes indeed. Except for one little thing. one little thing done by one little man. Dare I say, one helluva little man. Watch this. There are gasps from the room. BEAN is open mouthed. GRIERSON beams as many applaud and BEAN now joins in hyperactively. He's saved! The room is emptying. DAVID and BEAN stand there, DAVID stunned. GRIERSON heads over. BERNIE looks across from the computer and smiles. BEAN has his eyes on DAVID. He is mortified by what's happening. GRIERSON notices but misinterprets his worried expression. DAVID glares at BERNIE. BEAN is thinking 'No! I don't want to stay with horrible BERNIE.' He presses an intercom. He's enjoying himself. Hi everyone - this is your new Vice President, Bernie Shistler. Would you please watch your video screens. You're in for a treat, guys. A Van Gogh picture comes up on the giant video screens ....and then keeps changing, as BERNIE keeps talking. Just click , and here is a portrait of the painter - then his family then other paintings by him - then other pictures relevant to him in the gallery Everyone is delighted and impressed. And the beauty is, any idiot can use it. Dr Bean - would you like a try? But BEAN has another plan. He begins to click boxes. BEAN again disobeys ... He clicks on the padlock repeatedly - humming the familiar 'Goblins' tune. BERNIE is looking very tense. BEAN turns and snarls at him - almost a bark ... On the computer screens, the screen has gone black, just as | Why does the board want to fire Mr. Bean? | He has a reputation for sleeping on the job. |
in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves Enter KEVIN, their smart young son, strolling through. And KEVIN exits. ALISON isn't really listening. Much tension. Every conceivable thing that can be opened - cupboards, drawers, fridge -sports an oversized padlock. Even Bean's old G.P.O. phone has one on its dial. He then, slightly, incomprehensibly, begins to tie string it around various objects in the flat. The fridge - the corner of a chair, a couch leg. CUT TO back inside the flat. we now understand the string - as all the furniture starts to move across the flat. It works incredibly neatly the chair reaches the door He sits there, guiltlessly, as the Grand Man returns. Simultaneously, the man tries to suck the wet cigar, and the Old woman drinks the disgusting tea. A horrid experience for both. BEAN couldn't be more thrilled. There follows a sequence of short moments from this nightmare flight. 1/ The Old Tea-Drinking Lady is being helped with her ,luggage. A hostess slides it into the compartment above her head. 2/ BEAN sits down - and who should be his next door neighbour? The Grand Man, whose name is REYNOLDS. BEAN smiles merrily. The affection is not mutual. BEAN then switches on the noisy overhead air blower. Then can't turn it down again. It's very stuck. He manages however to push it away from his face - straight into REYNOLDS' . REYNOLDS looks annoyed, BEAN guiltless. And rams it into the blower. Both of them are relieved. REYNOLDS picks up his champagne to have his first proper sip. And whapp! The spitball, under high pressure, shoots into it, sending champagne spraying all over REYNOLDS. Not a good start. 3/--BEAN is reading the his teeth. He calls through the bedroom door. He finishes his teeth then runs the hot faucet. He exits to bedroom as BEAN enters from hall with dirty socks. (Long pause) ALISON smiles in spite of herself. She turns over and puts her arm around DAVID. She gets up close to his face. ALISON smiles, sleepily, and goes to kiss him. She stops and sniffs. Thoroughly put off, she rolls over and closes her eyes. Pause ... then a click of the bathroom lock ... Jennifer comes out. Then there's another click. BEAN breezes out of Jennifer's bedroom, past the family, in his pyjamas, carrying a wash bag and a towel over his arm. He waves to them friendly, slips into the bathroom and closes the door. The family stare in amazement. DAVID is thrown. He looks down at his tie. JENNIFER looks grumpy. KEVIN is eating happily. The box of salt teaches the bottom of the book and topples over the edge of the table. ( The BEETHOVEN bust' teeters on the edge of its book). The salt lands in a plastic funnel, taped to the top of a bamboo stick. The bottom of the stick sits on the BBC 2 button of a T.V. remote control. Close-up of its infrared L.E.D. as it flashes once. The phone stops ringing. CUT TO: the T.V. comes on at the start of a documentary about grizzly bears. A voice-over begins a narration. CUT TO: close on TEDDY sitting in his cardboard box hotel. Flickering light <b> </b> from the T.V. plays on his face. They just stare, dumb-founded. BEAN suddenly yanks on the hand-brake. DAVID's head hits the windshield with a sickening thud. BEAN reaches for and no one's any happier. BEAN shakes his head. And then they say, "firing David isn't enough - let's prosecute him for negligence. And they prosecute me and it turns out I was negligent and I go to jail, and my wife leaves me and my daughter becomes a prostitute and I end up on Death Row sharing a cell with Butch McDick, the infamous gay rapist - or worse, I end up in the same cell as you! BEAN shows it to him. Jesus!!! I'm already thinking back to 5 minutes ago as paradise. 5 minutes ago - just walking along, shooting the breeze with my old pal Bernie. BEAN then he has a brilliant idea. He hangs the painting back up in the security cupboard and closes the doors. Then he removes from his pocket a small note book. He scribbles something on it, tears the page out, licks it and sticks it on the cupboard door. It reads `OUT OF ORDER'. BEAN is delighted. Apart from the tiny drawback that the first person who opens the cupboard will say -"Look, someone's totally destroyed Whistler's Mother- let's kill them". BEAN is less delighted. No - the most important thing is tbat no-one sees it. Ever again! He locks the cupboard with his plastic card key- That's the first thing. Then ... that's the first thing.... Next ... next is the next thing which is... obviously... ritual suicide. Look, let's get out of here. Try to act natural. The let themselves out and go into the corridor- BEAN acting his version of `natural' - very liquid. BEAN and DAVID die and go to hell until ELMER laughs at his own little joke. GRIERSON laughs too. He strolls away. BEAN hudders at the thought of his paint-choosing. DAVID lets out stick the new one down to the old frame. He then puts the very convincing forgery back into the security cupboard and relocks it with DAVID's key card. The job is done. He scrunches up the old, torn picture, pops it in a dustbin, and heads off. The door swings open. It is Bean with a tray of coffee and toast. He laughs cheerily. Grierson leaves. David gets close to the painting and peers .... BEAN just puts his finger to his mouth... He lets out a hug smile - he can solve the problems of the world, as well as create them. But JENNIFER has already reached the front door .... A powerful motorbike turns into the drive at speed and skids round to face the opposite direction. JENNIFER runs over to it. The bike's rider turns off his engine and removes his helmet. It is STINGO, the white Rasta from the airport, with the hair extensions and the sixty rings in his nose. He hands JENNIFER a helmet. BEAN and KEVIN arrive at DAVID's side to spectre. JENNIFER has put on the helmet and is climbing onto the back of the bike. STINGO is still kicking the starter. DAVID is desperate. BEAN instantly takes on the hero's mantle and runs to the bike. DAVID is not far behind him. STINGO is still trying to kick start it. BEAN takes out a small screwdriver and twiddles with something on the engine. The bike sparks into life and does a wheelie before speeding out of the drive and down the road. BEAN stands, hands on hips, looking very-pleased with himself indeed. ANNIE smiles cutely at BEAN. | What event causes David Langley to lose his confidence in Mr. Bean? | Mr. Bean ruins the painting. |
proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary way of reviving Jennifer. DAVID approaches the opposite side of the bed and gets ready to pounce ... CUT TO: a close-up of the monitor. The he-man chases the pulse light ... DAVID dives across the bed just as he man swipes the pulse light with his sword. DAVID has landed on top of JENNIFER. The pulse light explodes and the monitor screen whites-out. JENNIFER wakes up with a start. ALISON covers her mouth, tearful, but she can't hold it back. She laughs. <b> </b>DAVID and KEVIN stare at JENNIFER. They can't help but join in the laughter. JENNIFER has no idea what's going on. BEAN is happy that everyone is happy. ALISON grins at him. Then at BEAN. He just stands there. okay - you grind the beans, and He moves towards her - his arms slip round her waist. ... put them in the .... ( but she can't concentrate I don't believe this. I'm being seduced by my own husband. Pause. They are just about to kiss when BEAN enters. He's a bit impatient. They jump apart. The moment is gone. ALISON takes out two single socks which have been neatly wrapped around a couple of drinks mats and put in the toaster slots. BEAN beams at her. He's impressed - and feels he's accepted. He leaves. CUT TO BERNIE, looking smug next to DAVID, who is pretty shocked by this. BEAN looks pleased - but then realises it's not a suitable emotion ~ so nods sagely. Insurance? Not a chance. Those bastards never pay. So, surely we're bankrupt? Surely your jobs are forfeit? Surely you're back on the unemployment lines, scraping in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves his teeth. He calls through the bedroom door. He finishes his teeth then runs the hot faucet. He exits to bedroom as BEAN enters from hall with dirty socks. (Long pause) ALISON smiles in spite of herself. She turns over and puts her arm around DAVID. She gets up close to his face. ALISON smiles, sleepily, and goes to kiss him. She stops and sniffs. Thoroughly put off, she rolls over and closes her eyes. Pause ... then a click of the bathroom lock ... Jennifer comes out. Then there's another click. BEAN breezes out of Jennifer's bedroom, past the family, in his pyjamas, carrying a wash bag and a towel over his arm. He waves to them friendly, slips into the bathroom and closes the door. The family stare in amazement. DAVID is thrown. He looks down at his tie. JENNIFER looks grumpy. KEVIN is eating happily. The box of salt teaches the bottom of the book and topples over the edge of the table. ( The BEETHOVEN bust' teeters on the edge of its book). The salt lands in a plastic funnel, taped to the top of a bamboo stick. The bottom of the stick sits on the BBC 2 button of a T.V. remote control. Close-up of its infrared L.E.D. as it flashes once. The phone stops ringing. CUT TO: the T.V. comes on at the start of a documentary about grizzly bears. A voice-over begins a narration. CUT TO: close on TEDDY sitting in his cardboard box hotel. Flickering light <b> </b> from the T.V. plays on his face. They just stare, dumb-founded. BEAN suddenly yanks on the hand-brake. DAVID's head hits the windshield with a sickening thud. BEAN reaches for | What is David's reaction to his lost confidence? | He gets very drunk |
shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary | What does Mr. Bean use to make a new painting? | Egg whites and nail varnish. |
He gets his delighted face right up to the screen. He sings along with the catchy tune. KEVIN is getting frustrated. KEVIN clicks on a cuckoo clock in the WIZARD's room. The cuckoo pops out holding a key in its beak. BEAN scans the monitor screen: he spots a little frog at the bottom of the scene. His eyes light up. He takes the mouse and rapidly and repeatedly clicks on the frog. The frog croaks and jumps off a little round stone. KEVIN gets excited. BEAN grins and makes WINKLE pick up the stone. Then he clicks through to inside the wizard's house. He makes WINKLE throw the stone at the cuckoo which instantly drops the key from its beak. Pause. Jennifer looks around. She can't help but hear. Not a happy experience. He is asking her for softness. Pause. At which moment BEAN enters wearing pointy hat. He helps himself to a melon from a bowl. He grins and exits. ALISON looks at DAVID sadly. Almost instantly, BEAN is back. He rummages through a drawer and takes out some large elastic bands. And leaves. He puts Bambi down on the side-table, on the flat surface of his CD player. BEAN appears again behind her, now looking even madder. Pointy hat, large pointy ears made from melon peel, held in place by the rubber band stretched round his face ~ huge front teeth also cut from the melon. He grins gleefully. DAVID and ALISON just stare. BEAN is followed by KEVIN who wears the same ears and teeth. It is quite loud. JENNIFER looks for the remote control. BEAN helpfully picks up a remote control from the sofa and points it across the KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. - then spots a tourist hiding and puts his arm around the ROBBER and gets him to take a photograph of them. BEAN removes the ROBBER's mask as the picture is taken. Forgetting himself, the ROBBER smiles for the camera. The ROBBER, jolted back to reality by the sound of approaching Police car sirens, jumps in the car and drives away. BEAN waves goodbye to the convertible as a couple of Police cars screech up. COPS jump out. DAVID approaches the scene with groceries and roses. What kind of hell has BEAN caused now? But instead of trouble, he sees the passers-by are getting to their feet, applauding BEAN and whistling! They crowd round the COPS explaining what a hero BEAN has been. BEAN hands over the gun to a COP. He doesn't really understand what all the fuss is about. He notices the BAG Sudden mutual recognition. One of the DETECTIVES lazily leaves the room. BRUTUS leans forward on his elbows. BEAN looks at h4-m blankly. BRUTUS holds up the photo. BEAN calmly takes the picture and tears it in half. He gives back the ROBBER half and puts the other half, with himself on, into his pocket. BRUTUS glares at him. BEAN grins. At last. A question he can answer. He nods, happily. The computer monitor shows the inside of the WIZARD's house. KEVIN moves the GOBLINS, and two little characters, FINGUS and WINKLE, around the room by clicking on areas in the room with his mouse. BEAN and KEVIN are both wearing pointed goblin hats made from newspaper. BEAN is interested in the computer because he likes the cute little GOBLINS. proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens Enter KEVIN, their smart young son, strolling through. And KEVIN exits. ALISON isn't really listening. Much tension. Every conceivable thing that can be opened - cupboards, drawers, fridge -sports an oversized padlock. Even Bean's old G.P.O. phone has one on its dial. He then, slightly, incomprehensibly, begins to tie string it around various objects in the flat. The fridge - the corner of a chair, a couch leg. CUT TO back inside the flat. we now understand the string - as all the furniture starts to move across the flat. It works incredibly neatly the chair reaches the door He sits there, guiltlessly, as the Grand Man returns. Simultaneously, the man tries to suck the wet cigar, and the Old woman drinks the disgusting tea. A horrid experience for both. BEAN couldn't be more thrilled. There follows a sequence of short moments from this nightmare flight. 1/ The Old Tea-Drinking Lady is being helped with her ,luggage. A hostess slides it into the compartment above her head. 2/ BEAN sits down - and who should be his next door neighbour? The Grand Man, whose name is REYNOLDS. BEAN smiles merrily. The affection is not mutual. BEAN then switches on the noisy overhead air blower. Then can't turn it down again. It's very stuck. He manages however to push it away from his face - straight into REYNOLDS' . REYNOLDS looks annoyed, BEAN guiltless. And rams it into the blower. Both of them are relieved. REYNOLDS picks up his champagne to have his first proper sip. And whapp! The spitball, under high pressure, shoots into it, sending champagne spraying all over REYNOLDS. Not a good start. 3/--BEAN is reading the | How does Mr. Bean win the crowd's approval? | He improvises a sentimental speech. |
- then spots a tourist hiding and puts his arm around the ROBBER and gets him to take a photograph of them. BEAN removes the ROBBER's mask as the picture is taken. Forgetting himself, the ROBBER smiles for the camera. The ROBBER, jolted back to reality by the sound of approaching Police car sirens, jumps in the car and drives away. BEAN waves goodbye to the convertible as a couple of Police cars screech up. COPS jump out. DAVID approaches the scene with groceries and roses. What kind of hell has BEAN caused now? But instead of trouble, he sees the passers-by are getting to their feet, applauding BEAN and whistling! They crowd round the COPS explaining what a hero BEAN has been. BEAN hands over the gun to a COP. He doesn't really understand what all the fuss is about. He notices the BAG Sudden mutual recognition. One of the DETECTIVES lazily leaves the room. BRUTUS leans forward on his elbows. BEAN looks at h4-m blankly. BRUTUS holds up the photo. BEAN calmly takes the picture and tears it in half. He gives back the ROBBER half and puts the other half, with himself on, into his pocket. BRUTUS glares at him. BEAN grins. At last. A question he can answer. He nods, happily. The computer monitor shows the inside of the WIZARD's house. KEVIN moves the GOBLINS, and two little characters, FINGUS and WINKLE, around the room by clicking on areas in the room with his mouse. BEAN and KEVIN are both wearing pointed goblin hats made from newspaper. BEAN is interested in the computer because he likes the cute little GOBLINS. in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens | How does Lieutenant Brutus get shot? | He was shot during a mugging. |
He gets his delighted face right up to the screen. He sings along with the catchy tune. KEVIN is getting frustrated. KEVIN clicks on a cuckoo clock in the WIZARD's room. The cuckoo pops out holding a key in its beak. BEAN scans the monitor screen: he spots a little frog at the bottom of the scene. His eyes light up. He takes the mouse and rapidly and repeatedly clicks on the frog. The frog croaks and jumps off a little round stone. KEVIN gets excited. BEAN grins and makes WINKLE pick up the stone. Then he clicks through to inside the wizard's house. He makes WINKLE throw the stone at the cuckoo which instantly drops the key from its beak. Pause. Jennifer looks around. She can't help but hear. Not a happy experience. He is asking her for softness. Pause. At which moment BEAN enters wearing pointy hat. He helps himself to a melon from a bowl. He grins and exits. ALISON looks at DAVID sadly. Almost instantly, BEAN is back. He rummages through a drawer and takes out some large elastic bands. And leaves. He puts Bambi down on the side-table, on the flat surface of his CD player. BEAN appears again behind her, now looking even madder. Pointy hat, large pointy ears made from melon peel, held in place by the rubber band stretched round his face ~ huge front teeth also cut from the melon. He grins gleefully. DAVID and ALISON just stare. BEAN is followed by KEVIN who wears the same ears and teeth. It is quite loud. JENNIFER looks for the remote control. BEAN helpfully picks up a remote control from the sofa and points it across the KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. - then spots a tourist hiding and puts his arm around the ROBBER and gets him to take a photograph of them. BEAN removes the ROBBER's mask as the picture is taken. Forgetting himself, the ROBBER smiles for the camera. The ROBBER, jolted back to reality by the sound of approaching Police car sirens, jumps in the car and drives away. BEAN waves goodbye to the convertible as a couple of Police cars screech up. COPS jump out. DAVID approaches the scene with groceries and roses. What kind of hell has BEAN caused now? But instead of trouble, he sees the passers-by are getting to their feet, applauding BEAN and whistling! They crowd round the COPS explaining what a hero BEAN has been. BEAN hands over the gun to a COP. He doesn't really understand what all the fuss is about. He notices the BAG Sudden mutual recognition. One of the DETECTIVES lazily leaves the room. BRUTUS leans forward on his elbows. BEAN looks at h4-m blankly. BRUTUS holds up the photo. BEAN calmly takes the picture and tears it in half. He gives back the ROBBER half and puts the other half, with himself on, into his pocket. BRUTUS glares at him. BEAN grins. At last. A question he can answer. He nods, happily. The computer monitor shows the inside of the WIZARD's house. KEVIN moves the GOBLINS, and two little characters, FINGUS and WINKLE, around the room by clicking on areas in the room with his mouse. BEAN and KEVIN are both wearing pointed goblin hats made from newspaper. BEAN is interested in the computer because he likes the cute little GOBLINS. proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other | How does Bean wake Jennifer? | By zapping himself with the defilibrator-+*9--------------------/ |
shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the his teeth. He calls through the bedroom door. He finishes his teeth then runs the hot faucet. He exits to bedroom as BEAN enters from hall with dirty socks. (Long pause) ALISON smiles in spite of herself. She turns over and puts her arm around DAVID. She gets up close to his face. ALISON smiles, sleepily, and goes to kiss him. She stops and sniffs. Thoroughly put off, she rolls over and closes her eyes. Pause ... then a click of the bathroom lock ... Jennifer comes out. Then there's another click. BEAN breezes out of Jennifer's bedroom, past the family, in his pyjamas, carrying a wash bag and a towel over his arm. He waves to them friendly, slips into the bathroom and closes the door. The family stare in amazement. DAVID is thrown. He looks down at his tie. JENNIFER looks grumpy. KEVIN is eating happily. The box of salt teaches the bottom of the book and topples over the edge of the table. ( The BEETHOVEN bust' teeters on the edge of its book). The salt lands in a plastic funnel, taped to the top of a bamboo stick. The bottom of the stick sits on the BBC 2 button of a T.V. remote control. Close-up of its infrared L.E.D. as it flashes once. The phone stops ringing. CUT TO: the T.V. comes on at the start of a documentary about grizzly bears. A voice-over begins a narration. CUT TO: close on TEDDY sitting in his cardboard box hotel. Flickering light <b> </b> from the T.V. plays on his face. They just stare, dumb-founded. BEAN suddenly yanks on the hand-brake. DAVID's head hits the windshield with a sickening thud. BEAN reaches for hike. DAVID heads off. BEAN wants to follow, but needs to get rid of the stinky flowers. He turns to ANNIE and gives them to her to be rid of them. She beams with delight: after all, he DID love her. BEAN heads off with DAVID to the parking lot. As they go, DAVID puts an arm <b> </b>round BEAN. Who shoos him away instantly. No sloppiness for him. She goes to kiss BEAN - but he just sticks out his hand, and shakes it firmly. Then moves on to JENNIFER. He shakes her broken arm firmly ... and she screams again. Until the waving hand viciously cracks against the wooden front gate as the car squeezes past. Then there is suddenly a tap on his shoulder. It's BEAN, ,as though he's magically jumped there. He gives DAVID a big bear hug, a big grin, and then a little wave - and heads away. In the distance, he treads on the back of ,some one's shoe. BEAN is utterly perplexed. He looks round the corner into another empty gallery, and shakes his head. Massive cheer, bowlers in the air, massive music. Roll credits. .... straight into the huge crate he has built. A rope tied to the back bumper pulls the lid closed behind him. And cut to the plane flying through clear skies. Though, for the Lear's of course there are no clear skies ahead. Enter KEVIN, their smart young son, strolling through. And KEVIN exits. ALISON isn't really listening. Much tension. Every conceivable thing that can be opened - cupboards, drawers, fridge -sports an oversized padlock. Even Bean's old G.P.O. phone has one on its dial. He then, slightly, incomprehensibly, begins to tie string it around various objects in the flat. The fridge - the corner of a chair, a couch leg. CUT TO back inside the flat. we now understand the string - as all the furniture starts to move across the flat. It works incredibly neatly the chair reaches the door He sits there, guiltlessly, as the Grand Man returns. Simultaneously, the man tries to suck the wet cigar, and the Old woman drinks the disgusting tea. A horrid experience for both. BEAN couldn't be more thrilled. There follows a sequence of short moments from this nightmare flight. 1/ The Old Tea-Drinking Lady is being helped with her ,luggage. A hostess slides it into the compartment above her head. 2/ BEAN sits down - and who should be his next door neighbour? The Grand Man, whose name is REYNOLDS. BEAN smiles merrily. The affection is not mutual. BEAN then switches on the noisy overhead air blower. Then can't turn it down again. It's very stuck. He manages however to push it away from his face - straight into REYNOLDS' . REYNOLDS looks annoyed, BEAN guiltless. And rams it into the blower. Both of them are relieved. REYNOLDS picks up his champagne to have his first proper sip. And whapp! The spitball, under high pressure, shoots into it, sending champagne spraying all over REYNOLDS. Not a good start. 3/--BEAN is reading the the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other | What causes the Langley's to rush to the hospital? | They think their daughter has been in an accident. |
He gets his delighted face right up to the screen. He sings along with the catchy tune. KEVIN is getting frustrated. KEVIN clicks on a cuckoo clock in the WIZARD's room. The cuckoo pops out holding a key in its beak. BEAN scans the monitor screen: he spots a little frog at the bottom of the scene. His eyes light up. He takes the mouse and rapidly and repeatedly clicks on the frog. The frog croaks and jumps off a little round stone. KEVIN gets excited. BEAN grins and makes WINKLE pick up the stone. Then he clicks through to inside the wizard's house. He makes WINKLE throw the stone at the cuckoo which instantly drops the key from its beak. Pause. Jennifer looks around. She can't help but hear. Not a happy experience. He is asking her for softness. Pause. At which moment BEAN enters wearing pointy hat. He helps himself to a melon from a bowl. He grins and exits. ALISON looks at DAVID sadly. Almost instantly, BEAN is back. He rummages through a drawer and takes out some large elastic bands. And leaves. He puts Bambi down on the side-table, on the flat surface of his CD player. BEAN appears again behind her, now looking even madder. Pointy hat, large pointy ears made from melon peel, held in place by the rubber band stretched round his face ~ huge front teeth also cut from the melon. He grins gleefully. DAVID and ALISON just stare. BEAN is followed by KEVIN who wears the same ears and teeth. It is quite loud. JENNIFER looks for the remote control. BEAN helpfully picks up a remote control from the sofa and points it across the shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the hike. DAVID heads off. BEAN wants to follow, but needs to get rid of the stinky flowers. He turns to ANNIE and gives them to her to be rid of them. She beams with delight: after all, he DID love her. BEAN heads off with DAVID to the parking lot. As they go, DAVID puts an arm <b> </b>round BEAN. Who shoos him away instantly. No sloppiness for him. She goes to kiss BEAN - but he just sticks out his hand, and shakes it firmly. Then moves on to JENNIFER. He shakes her broken arm firmly ... and she screams again. Until the waving hand viciously cracks against the wooden front gate as the car squeezes past. Then there is suddenly a tap on his shoulder. It's BEAN, ,as though he's magically jumped there. He gives DAVID a big bear hug, a big grin, and then a little wave - and heads away. In the distance, he treads on the back of ,some one's shoe. BEAN is utterly perplexed. He looks round the corner into another empty gallery, and shakes his head. Massive cheer, bowlers in the air, massive music. Roll credits. .... straight into the huge crate he has built. A rope tied to the back bumper pulls the lid closed behind him. And cut to the plane flying through clear skies. Though, for the Lear's of course there are no clear skies ahead. proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens Enter KEVIN, their smart young son, strolling through. And KEVIN exits. ALISON isn't really listening. Much tension. Every conceivable thing that can be opened - cupboards, drawers, fridge -sports an oversized padlock. Even Bean's old G.P.O. phone has one on its dial. He then, slightly, incomprehensibly, begins to tie string it around various objects in the flat. The fridge - the corner of a chair, a couch leg. CUT TO back inside the flat. we now understand the string - as all the furniture starts to move across the flat. It works incredibly neatly the chair reaches the door He sits there, guiltlessly, as the Grand Man returns. Simultaneously, the man tries to suck the wet cigar, and the Old woman drinks the disgusting tea. A horrid experience for both. BEAN couldn't be more thrilled. There follows a sequence of short moments from this nightmare flight. 1/ The Old Tea-Drinking Lady is being helped with her ,luggage. A hostess slides it into the compartment above her head. 2/ BEAN sits down - and who should be his next door neighbour? The Grand Man, whose name is REYNOLDS. BEAN smiles merrily. The affection is not mutual. BEAN then switches on the noisy overhead air blower. Then can't turn it down again. It's very stuck. He manages however to push it away from his face - straight into REYNOLDS' . REYNOLDS looks annoyed, BEAN guiltless. And rams it into the blower. Both of them are relieved. REYNOLDS picks up his champagne to have his first proper sip. And whapp! The spitball, under high pressure, shoots into it, sending champagne spraying all over REYNOLDS. Not a good start. 3/--BEAN is reading the | What keepsakes does Mr. Bean take home to remind him of the Langley's? | Photos of the Langleys and the original painting. |
shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens Whistler's Mother's face entirely. As Bean watches-in frozen horror, America's most famous painting turns back to a blank canvas. Bean lifts it against the wall to check how it's worked. Unfortunately, there's a nail there. The picture tears, Bean panics - it tears even more. Total destruction. BEAN Hurries down the corridor with his pseudo-trolley again, and a vaguely mad look on his face. He spots ANNIE at a drinks machine. She smiles sweetly (here comes her man) BEAN takes a sharp left into an adjacent corridor. ANNIE is hurt. He stands frozen for a second - and at that moment, a hand tries the door. <b> </b>BEAN leaps at it and stops. the handle turning. Then there's a knock. BEAN moves the big table in front of the door - he's barricading himself in. There's a famous Rodin sculpture in there - he shoves it along to block, the door as well. When he's succeeded, he leans hot and sweaty against it - and a door on the other side of the room calmly opens and .... DAVID walks in. Pause. Pause. BEAN finally shows it. Not a pretty sight. He rushes to the door he just came in - and locks it. Wait a minute - why am I worrying about this? I did it. I just go out and tell them what happened - you're a madman from England and you did this terrible thing and it's not my fault. That's right, isn't it? BEAN nods, knowing he deserves his doom. Perfect - and then they say - who left him alone with the picture?" And I say - "me". And they say "you're fired". And I say ' right'. And so I get fired and you go to jail | Who does Mr. Bean have to give a speech to about the painting? | General Newton, journalists and reporters. |
shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other room. Too late! BEAN punches a button and the lid of the CD player launches the Bambi into the air. DAVID sees it. In slow motion he dives dramatically and just misses it. It smashes on the floor. BEAN raises his eyes heavenwards, shakes his head and tuts. He thinks DAVID is a real Butter Fingers. JENNIFER, upset, has found the TV remote and unintentionally switches from the Vampire game to a TV channel. It's very loud. ALISON gives DAVID a tearful look, and shakes her head. She gets up and walks away. DAVID heads for Mr BEAN's room, and knocks cautiously on the door. DAVID enters - Camera follows as DAVID finds his way through BEAN's washing hanging from strings across the room. BEAN is sticking things in a picture album. BEAN gives him an affable smile. In a pause before he quite gathers himself to broach the difficult subject, DAVID asks a polite question. BEAN acquiesces. He starts from the beginning, with pictures of him as a kid. Always standing on his own. A whole page of Teddy. Then three pages of BEAN's mini with dates, on labels, going way back. Then a whole page of garden gnomes. BEAN starts to look for something in particular. DAVID uses the pause to broach the awful subject. BEAN nods. DAVID smiles and goes to the door. BE-AN waves good-bye a little rudely and gets back to the album. Even when we feel sorry for him, he's a little rude. DAVID walks away, shaking his head. DAVID feels the other side of the bed. No-one there. He walks into the bathroom and turns on the | Why does the National Gallery send Mr. Bean to Los Angeles? | To get rid of him. |
shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves a living as waiters and boys? Yes. Yes indeed. Except for one little thing. one little thing done by one little man. Dare I say, one helluva little man. Watch this. There are gasps from the room. BEAN is open mouthed. GRIERSON beams as many applaud and BEAN now joins in hyperactively. He's saved! The room is emptying. DAVID and BEAN stand there, DAVID stunned. GRIERSON heads over. BERNIE looks across from the computer and smiles. BEAN has his eyes on DAVID. He is mortified by what's happening. GRIERSON notices but misinterprets his worried expression. DAVID glares at BERNIE. BEAN is thinking 'No! I don't want to stay with horrible BERNIE.' He presses an intercom. He's enjoying himself. Hi everyone - this is your new Vice President, Bernie Shistler. Would you please watch your video screens. You're in for a treat, guys. A Van Gogh picture comes up on the giant video screens ....and then keeps changing, as BERNIE keeps talking. Just click , and here is a portrait of the painter - then his family then other paintings by him - then other pictures relevant to him in the gallery Everyone is delighted and impressed. And the beauty is, any idiot can use it. Dr Bean - would you like a try? But BEAN has another plan. He begins to click boxes. BEAN again disobeys ... He clicks on the padlock repeatedly - humming the familiar 'Goblins' tune. BERNIE is looking very tense. BEAN turns and snarls at him - almost a bark ... On the computer screens, the screen has gone black, just as room. Too late! BEAN punches a button and the lid of the CD player launches the Bambi into the air. DAVID sees it. In slow motion he dives dramatically and just misses it. It smashes on the floor. BEAN raises his eyes heavenwards, shakes his head and tuts. He thinks DAVID is a real Butter Fingers. JENNIFER, upset, has found the TV remote and unintentionally switches from the Vampire game to a TV channel. It's very loud. ALISON gives DAVID a tearful look, and shakes her head. She gets up and walks away. DAVID heads for Mr BEAN's room, and knocks cautiously on the door. DAVID enters - Camera follows as DAVID finds his way through BEAN's washing hanging from strings across the room. BEAN is sticking things in a picture album. BEAN gives him an affable smile. In a pause before he quite gathers himself to broach the difficult subject, DAVID asks a polite question. BEAN acquiesces. He starts from the beginning, with pictures of him as a kid. Always standing on his own. A whole page of Teddy. Then three pages of BEAN's mini with dates, on labels, going way back. Then a whole page of garden gnomes. BEAN starts to look for something in particular. DAVID uses the pause to broach the awful subject. BEAN nods. DAVID smiles and goes to the door. BE-AN waves good-bye a little rudely and gets back to the album. Even when we feel sorry for him, he's a little rude. DAVID walks away, shaking his head. DAVID feels the other side of the bed. No-one there. He walks into the bathroom and turns on the | Why doesn't the board of the National Gallery fire Mr. Bean? | The Chairman is sympathetic to him. |
He gets his delighted face right up to the screen. He sings along with the catchy tune. KEVIN is getting frustrated. KEVIN clicks on a cuckoo clock in the WIZARD's room. The cuckoo pops out holding a key in its beak. BEAN scans the monitor screen: he spots a little frog at the bottom of the scene. His eyes light up. He takes the mouse and rapidly and repeatedly clicks on the frog. The frog croaks and jumps off a little round stone. KEVIN gets excited. BEAN grins and makes WINKLE pick up the stone. Then he clicks through to inside the wizard's house. He makes WINKLE throw the stone at the cuckoo which instantly drops the key from its beak. Pause. Jennifer looks around. She can't help but hear. Not a happy experience. He is asking her for softness. Pause. At which moment BEAN enters wearing pointy hat. He helps himself to a melon from a bowl. He grins and exits. ALISON looks at DAVID sadly. Almost instantly, BEAN is back. He rummages through a drawer and takes out some large elastic bands. And leaves. He puts Bambi down on the side-table, on the flat surface of his CD player. BEAN appears again behind her, now looking even madder. Pointy hat, large pointy ears made from melon peel, held in place by the rubber band stretched round his face ~ huge front teeth also cut from the melon. He grins gleefully. DAVID and ALISON just stare. BEAN is followed by KEVIN who wears the same ears and teeth. It is quite loud. JENNIFER looks for the remote control. BEAN helpfully picks up a remote control from the sofa and points it across the - then spots a tourist hiding and puts his arm around the ROBBER and gets him to take a photograph of them. BEAN removes the ROBBER's mask as the picture is taken. Forgetting himself, the ROBBER smiles for the camera. The ROBBER, jolted back to reality by the sound of approaching Police car sirens, jumps in the car and drives away. BEAN waves goodbye to the convertible as a couple of Police cars screech up. COPS jump out. DAVID approaches the scene with groceries and roses. What kind of hell has BEAN caused now? But instead of trouble, he sees the passers-by are getting to their feet, applauding BEAN and whistling! They crowd round the COPS explaining what a hero BEAN has been. BEAN hands over the gun to a COP. He doesn't really understand what all the fuss is about. He notices the BAG Sudden mutual recognition. One of the DETECTIVES lazily leaves the room. BRUTUS leans forward on his elbows. BEAN looks at h4-m blankly. BRUTUS holds up the photo. BEAN calmly takes the picture and tears it in half. He gives back the ROBBER half and puts the other half, with himself on, into his pocket. BRUTUS glares at him. BEAN grins. At last. A question he can answer. He nods, happily. The computer monitor shows the inside of the WIZARD's house. KEVIN moves the GOBLINS, and two little characters, FINGUS and WINKLE, around the room by clicking on areas in the room with his mouse. BEAN and KEVIN are both wearing pointed goblin hats made from newspaper. BEAN is interested in the computer because he likes the cute little GOBLINS. shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the way of reviving Jennifer. DAVID approaches the opposite side of the bed and gets ready to pounce ... CUT TO: a close-up of the monitor. The he-man chases the pulse light ... DAVID dives across the bed just as he man swipes the pulse light with his sword. DAVID has landed on top of JENNIFER. The pulse light explodes and the monitor screen whites-out. JENNIFER wakes up with a start. ALISON covers her mouth, tearful, but she can't hold it back. She laughs. <b> </b>DAVID and KEVIN stare at JENNIFER. They can't help but join in the laughter. JENNIFER has no idea what's going on. BEAN is happy that everyone is happy. ALISON grins at him. Then at BEAN. He just stands there. okay - you grind the beans, and He moves towards her - his arms slip round her waist. ... put them in the .... ( but she can't concentrate I don't believe this. I'm being seduced by my own husband. Pause. They are just about to kiss when BEAN enters. He's a bit impatient. They jump apart. The moment is gone. ALISON takes out two single socks which have been neatly wrapped around a couple of drinks mats and put in the toaster slots. BEAN beams at her. He's impressed - and feels he's accepted. He leaves. CUT TO BERNIE, looking smug next to DAVID, who is pretty shocked by this. BEAN looks pleased - but then realises it's not a suitable emotion ~ so nods sagely. Insurance? Not a chance. Those bastards never pay. So, surely we're bankrupt? Surely your jobs are forfeit? Surely you're back on the unemployment lines, scraping his teeth. He calls through the bedroom door. He finishes his teeth then runs the hot faucet. He exits to bedroom as BEAN enters from hall with dirty socks. (Long pause) ALISON smiles in spite of herself. She turns over and puts her arm around DAVID. She gets up close to his face. ALISON smiles, sleepily, and goes to kiss him. She stops and sniffs. Thoroughly put off, she rolls over and closes her eyes. Pause ... then a click of the bathroom lock ... Jennifer comes out. Then there's another click. BEAN breezes out of Jennifer's bedroom, past the family, in his pyjamas, carrying a wash bag and a towel over his arm. He waves to them friendly, slips into the bathroom and closes the door. The family stare in amazement. DAVID is thrown. He looks down at his tie. JENNIFER looks grumpy. KEVIN is eating happily. The box of salt teaches the bottom of the book and topples over the edge of the table. ( The BEETHOVEN bust' teeters on the edge of its book). The salt lands in a plastic funnel, taped to the top of a bamboo stick. The bottom of the stick sits on the BBC 2 button of a T.V. remote control. Close-up of its infrared L.E.D. as it flashes once. The phone stops ringing. CUT TO: the T.V. comes on at the start of a documentary about grizzly bears. A voice-over begins a narration. CUT TO: close on TEDDY sitting in his cardboard box hotel. Flickering light <b> </b> from the T.V. plays on his face. They just stare, dumb-founded. BEAN suddenly yanks on the hand-brake. DAVID's head hits the windshield with a sickening thud. BEAN reaches for | What does David Langley's family do when Mr. Bean moves in? | They move out |
shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary the cable into another circuit. The Van Gogh appears happily on the screen. BEAN and PROGRAMMER both give out a sigh of relief. BEAN smiles and leaves quickly. But a second later the computer screen disintegrates and the Van Gogh slides down the screen like a water-colour in the rain. The PROG difficult to breathe. There is a knock at the door. BEAN enters. LORD WALTON smiles. The rest of the faces in the room are looking dangerously close to smug. BEAN is very nervous indeed. The phone rings. LORD WALTON answers. BEAN sits next to VINCENT and sniffs at him. VINCENT's breath hasn't improved. He slowly hangs up. Everyone has got the gist of what has just occurred with the new computer- The energy drains from them all as they contemplate another six months with BEAN still on the staff. LORD WALTON coughs politely. All get the message at the same moment and hurriedly scribble on their voting slips. The slips get handed down the line to LORD WALTON. We see that every single slip has 'BEAN' on it. There is a knock at the door. The fat, bespectacled, PROGRAMMER puts his head round it. BEAN heads on through the gallery merrily - but suddenly, his good mood is <b> </b>broken, when he notices 3 schoolgirls entering a new exhibition, called The Ultra-Human Form. This worries him - and we soon see why - BEAN heads in to the room where all the paintings are very graphic nudes, and the 3 girls are having a good giggle. BEAN quickly rushes over and with his hand covers the breasts of the painting they're inspecting. Two girls then move on to the next painting - which unfortunately also has breasts. BEAN stretches and just manages to cover them with his other and no one's any happier. BEAN shakes his head. And then they say, "firing David isn't enough - let's prosecute him for negligence. And they prosecute me and it turns out I was negligent and I go to jail, and my wife leaves me and my daughter becomes a prostitute and I end up on Death Row sharing a cell with Butch McDick, the infamous gay rapist - or worse, I end up in the same cell as you! BEAN shows it to him. Jesus!!! I'm already thinking back to 5 minutes ago as paradise. 5 minutes ago - just walking along, shooting the breeze with my old pal Bernie. BEAN then he has a brilliant idea. He hangs the painting back up in the security cupboard and closes the doors. Then he removes from his pocket a small note book. He scribbles something on it, tears the page out, licks it and sticks it on the cupboard door. It reads `OUT OF ORDER'. BEAN is delighted. Apart from the tiny drawback that the first person who opens the cupboard will say -"Look, someone's totally destroyed Whistler's Mother- let's kill them". BEAN is less delighted. No - the most important thing is tbat no-one sees it. Ever again! He locks the cupboard with his plastic card key- That's the first thing. Then ... that's the first thing.... Next ... next is the next thing which is... obviously... ritual suicide. Look, let's get out of here. Try to act natural. The let themselves out and go into the corridor- BEAN acting his version of `natural' - very liquid. BEAN and DAVID die and go to hell until ELMER laughs at his own little joke. GRIERSON laughs too. He strolls away. BEAN hudders at the thought of his paint-choosing. DAVID lets out | Who becomes gets drunk after the painting is ruined? | David. |
KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens Robin Driscoll <b> </b><b>INT. NATIONAL GALLERY. BOARDROOM - DAY </b> A very grand room, with lots of wood and some very famous portraits round the walls. A group of grave gentlemen and gentlewomen. They are the trustees of the National Gallery. LORD WALTON, a very grand man, sits at the table head. To his right sits his assistant, GARETH. All are deep in thought. LORD WALTON fidgets with a pencil on the table. He raises his head as though about to speak. Everyone looks up expectantly. And... LORD WALTON goes back to fidgeting. So does everyone else. The Theme Music - big and dramatic - begins, as do the rest of the credits. BEAN gaily motors on - then unexpectedly the sweeping theme tune jumps, as if it has hit a scratch: the cinema audience should be worried there's a sound fault. BEAN comes to a street full of sleeping policemen ~ he goes at them at quite a lick - and every time he shoots over one of the bumps, the theme tune jumps violently. BEAN looks a little annoyed into the back seat - we now see the cause of the problem. Instead of having a car radio, BEAN has an old record player strapped into the back seat, playing the theme tune. On he drives, through empty streets - then JOLT - he's reached the glorious familiarity of Central London, Big Ben and all - but heels now in dreadful traffic. Heels not happy. He looks to the left and sees a very thin alleyway. He takes out a metal comb from his pocket and, using it like a bomber's sight- line-checker, measures the front of his car and the width of the alley. He 'S <b> </b>satisfied - does a 90-degree | What items did Mr. Bean use to make the poster look like the painting? | Egg whites and nail varnish. |
- then spots a tourist hiding and puts his arm around the ROBBER and gets him to take a photograph of them. BEAN removes the ROBBER's mask as the picture is taken. Forgetting himself, the ROBBER smiles for the camera. The ROBBER, jolted back to reality by the sound of approaching Police car sirens, jumps in the car and drives away. BEAN waves goodbye to the convertible as a couple of Police cars screech up. COPS jump out. DAVID approaches the scene with groceries and roses. What kind of hell has BEAN caused now? But instead of trouble, he sees the passers-by are getting to their feet, applauding BEAN and whistling! They crowd round the COPS explaining what a hero BEAN has been. BEAN hands over the gun to a COP. He doesn't really understand what all the fuss is about. He notices the BAG Sudden mutual recognition. One of the DETECTIVES lazily leaves the room. BRUTUS leans forward on his elbows. BEAN looks at h4-m blankly. BRUTUS holds up the photo. BEAN calmly takes the picture and tears it in half. He gives back the ROBBER half and puts the other half, with himself on, into his pocket. BRUTUS glares at him. BEAN grins. At last. A question he can answer. He nods, happily. The computer monitor shows the inside of the WIZARD's house. KEVIN moves the GOBLINS, and two little characters, FINGUS and WINKLE, around the room by clicking on areas in the room with his mouse. BEAN and KEVIN are both wearing pointed goblin hats made from newspaper. BEAN is interested in the computer because he likes the cute little GOBLINS. KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. in a suit, around 40, breezes in. BEAN nods. This is what BEAN likes to do best. The camera follows as he turns sees the extraordinary sight behind him... After a problem getting his. foot caught in the jaw of a sculptured dog, he walks flat along a modern sculpture, then uses a sequence of classic sculptures as stairs - on the head of a little Degas ballerina, one step on to the bottom of a horse, two steps onto the head of the person riding the horse, three steps and now he's on the other side of the hall. <b> </b>He then triumphantly pulls out a painting. It's the one!, A reserved smatter of laughter, from relief more than anything. LORD W. talks into an intercom on the table. Cut to the trustees - they shake their heads and wrinkle, their noses, not very interested. A 106 year old SIR RUPERT puts up his hand. We see the Van Gogh change to a pictorial representation of the Storage room - with an arrow pointing to where the Van Gogh is located. BEAN is clearly going to be replaced by this programme. Or not ... BEAN searches for the plug, but it's under acres of desk - so he simply pulls a cable out of the back the computer. The entire system clicks off. At which moment the Programmer comes back in. With a slightly guilty smile he picks up the cable again looks with puzzlement at the five available places to plug it in and just takes a random guess. And a disastrous one. There is a ugly electrical fizzle. The screens come on white, then pop out completely. BEAN realises that he has done something wrong and quickly shoves proudly one last time before he and BERNIE exit. GRIERSON tries to fathom the strange man who just left. DAVID frowns then sees. BEAN does not even notice her. As DAVID heads for the exit, BEAN suddenly sneezes. ANNIE sighs her disappointment. The MIME accosts a woman, pretending to brush dust from her clothes, comb her hair etc. The MIME is a bit of a pain in the ass really. The woman quickly moves on. BEAN is intrigued. The MIME mimes climbing a ladder. BEAN goes up next to him - and looks up. There's nothing there. He decides the MIME is a bit of a tricky. This is confirmed when the MIME pretends he's locked behind a pane of glass. BEAN simply pokes his finger through the imaginary glass wall, and hits the MIME's nose. CUT TO: DAVID watching bemusedly some way off. The MIME is however delighted someone is taking an interest at last. He <b> </b> takes a handkerchief from BEAN's pocket, and gets BEAN to guess which hand the hanky's in. It's not in the left. Not in the right. BEAN isn't the slightest bit impressed - he just reaches round and takes the hank-y from where it's tucked into the MIME's trousers - and heads away. As he moves off, the MIME touches h' on the shoulder. BEAN turns and the MIME starts a mocking gun duel. He draws his guns. BEAN is pretty unimpressed. The MIME turns his back and walks the 10 paces to draw. 4 He turns .... But now BEAN decides to settles it once and for all. In a brilliant piece of big mime, he puts together the biggest gun ever seen outside an Arnold Schwarzenegger movie. He sets up a pedestal - opens it did when Bean was playing earlier, and the 6 dashes have appeared with the flashing cursor over the first of them. All watch, intrigued by what they see. Words and figures fill the screen. BEAN throws his hands up and sings a verbal fanfare: GRIERSON moves to DAVID's side and the two stare at the screen, the meaning of its contents dawning on them. Close up of the screen as their eyes find the words: `NEW ARTIST EXHIBIT' in the middle of columns of words, figures and dollar signs. DAVID scrolls down the screen. He pushes a button, that sends a picture of what's happening in his office throughout the Gallery. My friends, good news. Mr Schimmel is not only no longer Vice- President. He actually no longer works here. Pause. All eyes turn to BEAN. CUT TO people watching the big screens everywhere. BEAN looks long and hard at BERNIE. And punches BERNIE sharply in the nose. Everyone in the gallery bursts into applause. BEAN nods his head firmly. The car pulls away. Then breaks and reverses. The SIDE-KICK gets out. SIDE-KICK opens the back of the car. He takes out a huge bunch of flowers. The chief said I was to give you these. BEAN is delighted. Then sniffs the flowers. What a nasty stink. Not his sort of thing at all. He looks sideways to Bean, who is frantically pointing to his spine. DAVID gets the message, and changes his tune.. Let me think about that, Thomas. We'd have to talk quite a salary | Why does Lt. Brutus visit David? | To tell him of his daughter's accident. |
- then spots a tourist hiding and puts his arm around the ROBBER and gets him to take a photograph of them. BEAN removes the ROBBER's mask as the picture is taken. Forgetting himself, the ROBBER smiles for the camera. The ROBBER, jolted back to reality by the sound of approaching Police car sirens, jumps in the car and drives away. BEAN waves goodbye to the convertible as a couple of Police cars screech up. COPS jump out. DAVID approaches the scene with groceries and roses. What kind of hell has BEAN caused now? But instead of trouble, he sees the passers-by are getting to their feet, applauding BEAN and whistling! They crowd round the COPS explaining what a hero BEAN has been. BEAN hands over the gun to a COP. He doesn't really understand what all the fuss is about. He notices the BAG Sudden mutual recognition. One of the DETECTIVES lazily leaves the room. BRUTUS leans forward on his elbows. BEAN looks at h4-m blankly. BRUTUS holds up the photo. BEAN calmly takes the picture and tears it in half. He gives back the ROBBER half and puts the other half, with himself on, into his pocket. BRUTUS glares at him. BEAN grins. At last. A question he can answer. He nods, happily. The computer monitor shows the inside of the WIZARD's house. KEVIN moves the GOBLINS, and two little characters, FINGUS and WINKLE, around the room by clicking on areas in the room with his mouse. BEAN and KEVIN are both wearing pointed goblin hats made from newspaper. BEAN is interested in the computer because he likes the cute little GOBLINS. KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. hike. DAVID heads off. BEAN wants to follow, but needs to get rid of the stinky flowers. He turns to ANNIE and gives them to her to be rid of them. She beams with delight: after all, he DID love her. BEAN heads off with DAVID to the parking lot. As they go, DAVID puts an arm <b> </b>round BEAN. Who shoos him away instantly. No sloppiness for him. She goes to kiss BEAN - but he just sticks out his hand, and shakes it firmly. Then moves on to JENNIFER. He shakes her broken arm firmly ... and she screams again. Until the waving hand viciously cracks against the wooden front gate as the car squeezes past. Then there is suddenly a tap on his shoulder. It's BEAN, ,as though he's magically jumped there. He gives DAVID a big bear hug, a big grin, and then a little wave - and heads away. In the distance, he treads on the back of ,some one's shoe. BEAN is utterly perplexed. He looks round the corner into another empty gallery, and shakes his head. Massive cheer, bowlers in the air, massive music. Roll credits. .... straight into the huge crate he has built. A rope tied to the back bumper pulls the lid closed behind him. And cut to the plane flying through clear skies. Though, for the Lear's of course there are no clear skies ahead. It reverses at 100 mph straight backwards, smashing violently into and destroying the back of the car behind _ as it happens, Bernie's car. BERNIE spots a slightly concerned DAVID. The party follows DAVID as he walks through the gallery, towards the double doors, to take the lift to the Whistler Room. An excited atmosphere. It's part of his plan of caution - he knows there's something wrong - and wants as few people as possible to .see the painting close up. The crowd moves back. REYNOLDS is flattered. Silence. DAVID inserts the plastic card key - opens the doors - and sure enough there in all its glory is Whistler's Mother'. Respectful silence. REYNOLDS is delighted. He stands back to inspect her. They turn to each other - recognition from BEAN "it's the man from the plane". He does a very quick hand-shake and tries to make a getaway before REYNOLDS recognises him... BEAN turns. In fatal slow motion he trips over the cord that stops anyone getting too close to the great painting. He spins and falls in the direction of the painting. CUT TO: the looks of horror on all the faces. CUT TO: BEAN, reaching out to keep himself standing. We think he's going to tear the painting. He doesn't. He simply catches hold of the bottom of the ornate frame. It ,,snaps off. CUT TO: a look of relief for an instant on all faces. CUT TO: the truth - as the frame breaks off, there is the little white strip, saying, THE GRIERSON GALLERY, HOME OF WHISTLER'S MOTHER"- CUT TO: a look of horror on all faces. CUT TO: ELMER looking like someone has just murdered his own mother. BEAN cant quite believe he's forgiven. At which moment, there is the moments before is gone. BEAN looks very contrite. At that moment, another doctor walks by. ALISON looks round, and shakes her head. BEAN kicks DAVID in the shins. DAVID looks round, puzzled. There is a poster of the human skeleton. BEAN points to the spine. DAVID looks but cannot fathom a relevant meaning from it. Another doctor comes along - the same one who they spoke to first. He's young, confident slightly arrogant. DAVID looks at the poster opposite again. Spine, ribcage, skull. Looks back at Bean gesturing to it. This time the penny drops! Spine spineless! A hint of a smile arrives on ALISON's lips. She's heard that somewhere before. DAVID turns to ALISON - she does a little tilt of her Head `WOW'. And he turns to BEAN, who points to himself, and nods .... n Come on! BEAN nods enthusiastically and backs off. She looks up at DAVID, who's looking at her. Slowly she gets close and puts her arms around him. She's a bit tearful. They look down to see KEVIN has arrived. A hospital PORTER passes, pushing the T.V. on a trolley. He yanks off the jack plug at the end of the Super Nintendo lead. Producing his small screwdriver, he starts to unscrew the console casing. She and DAVID manage to share a smile. They're going to get through this. Suddenly, we hear noise from the vampire game, coming from JENNIFER's room. KEVIN registers this and is puzzled. Then ALISON and DAVID notice it. ALISON gasps. DAVID slowly moves into the room. But BEAN is determined to keep going - it's his | Why do the police stop on their way to the hospital? | To stop a mugging. |
He gets his delighted face right up to the screen. He sings along with the catchy tune. KEVIN is getting frustrated. KEVIN clicks on a cuckoo clock in the WIZARD's room. The cuckoo pops out holding a key in its beak. BEAN scans the monitor screen: he spots a little frog at the bottom of the scene. His eyes light up. He takes the mouse and rapidly and repeatedly clicks on the frog. The frog croaks and jumps off a little round stone. KEVIN gets excited. BEAN grins and makes WINKLE pick up the stone. Then he clicks through to inside the wizard's house. He makes WINKLE throw the stone at the cuckoo which instantly drops the key from its beak. Pause. Jennifer looks around. She can't help but hear. Not a happy experience. He is asking her for softness. Pause. At which moment BEAN enters wearing pointy hat. He helps himself to a melon from a bowl. He grins and exits. ALISON looks at DAVID sadly. Almost instantly, BEAN is back. He rummages through a drawer and takes out some large elastic bands. And leaves. He puts Bambi down on the side-table, on the flat surface of his CD player. BEAN appears again behind her, now looking even madder. Pointy hat, large pointy ears made from melon peel, held in place by the rubber band stretched round his face ~ huge front teeth also cut from the melon. He grins gleefully. DAVID and ALISON just stare. BEAN is followed by KEVIN who wears the same ears and teeth. It is quite loud. JENNIFER looks for the remote control. BEAN helpfully picks up a remote control from the sofa and points it across the - then spots a tourist hiding and puts his arm around the ROBBER and gets him to take a photograph of them. BEAN removes the ROBBER's mask as the picture is taken. Forgetting himself, the ROBBER smiles for the camera. The ROBBER, jolted back to reality by the sound of approaching Police car sirens, jumps in the car and drives away. BEAN waves goodbye to the convertible as a couple of Police cars screech up. COPS jump out. DAVID approaches the scene with groceries and roses. What kind of hell has BEAN caused now? But instead of trouble, he sees the passers-by are getting to their feet, applauding BEAN and whistling! They crowd round the COPS explaining what a hero BEAN has been. BEAN hands over the gun to a COP. He doesn't really understand what all the fuss is about. He notices the BAG Sudden mutual recognition. One of the DETECTIVES lazily leaves the room. BRUTUS leans forward on his elbows. BEAN looks at h4-m blankly. BRUTUS holds up the photo. BEAN calmly takes the picture and tears it in half. He gives back the ROBBER half and puts the other half, with himself on, into his pocket. BRUTUS glares at him. BEAN grins. At last. A question he can answer. He nods, happily. The computer monitor shows the inside of the WIZARD's house. KEVIN moves the GOBLINS, and two little characters, FINGUS and WINKLE, around the room by clicking on areas in the room with his mouse. BEAN and KEVIN are both wearing pointed goblin hats made from newspaper. BEAN is interested in the computer because he likes the cute little GOBLINS. KEVIN returns the gesture and exits.. Back to the computer, BEAN clicks on an icon which takes him to the ground floor gallery. He clicks through various paintings and stops at the painting of the woman, in the castle, wearing the chastity belt. BEAN clicks and enlarges the painting to fill the screen. He happily hums the catchy tune from 'GOBLINS 2' and homes in on the tiny padlock on the chastity belt. Padlocks interest him. He clicks on the keyhole rapidly (as we have seen him do with the frog in GOBLINS 2). .Suddenly, to BEAN's surprise, the padlock starts to flash red...then the whole screen starts to flash ... before going dramatically back to black ... Now flashing in the .centre of the monitor is an icon of a tiny key. Beneath it, a row of six dashes appears (e.g - - - - - - - ). A cursor is flashing over the first dash. BEAN is totally absorbed. He loves these kinds of puzzles. With one finger, he slowly types out letters on the keyboard (he has to search for some of them). As he does so, they appear over each dash in turn: BEAN smiles and nods nervously. He knows he's probably up to something he shouldn't be. BERNIE throws BEAN a name badge with 'Dr. Bean' on it. BEAN nods. BERNIE exits. BEAN goes back to the code. He types in the first thing that comes into his head: BRUTUS and his SIDE-KICK COP fall into step behind him. They are the Police presence today. GRIERSON and BERNIE greet REYNOLDS at the entrance. GRIERSON is wearing a striking brand new light blue silk suit. hike. DAVID heads off. BEAN wants to follow, but needs to get rid of the stinky flowers. He turns to ANNIE and gives them to her to be rid of them. She beams with delight: after all, he DID love her. BEAN heads off with DAVID to the parking lot. As they go, DAVID puts an arm <b> </b>round BEAN. Who shoos him away instantly. No sloppiness for him. She goes to kiss BEAN - but he just sticks out his hand, and shakes it firmly. Then moves on to JENNIFER. He shakes her broken arm firmly ... and she screams again. Until the waving hand viciously cracks against the wooden front gate as the car squeezes past. Then there is suddenly a tap on his shoulder. It's BEAN, ,as though he's magically jumped there. He gives DAVID a big bear hug, a big grin, and then a little wave - and heads away. In the distance, he treads on the back of ,some one's shoe. BEAN is utterly perplexed. He looks round the corner into another empty gallery, and shakes his head. Massive cheer, bowlers in the air, massive music. Roll credits. .... straight into the huge crate he has built. A rope tied to the back bumper pulls the lid closed behind him. And cut to the plane flying through clear skies. Though, for the Lear's of course there are no clear skies ahead. shower. Then walks back into the bedroom - She's gone - I've got to learn how to face it " He takes a towel from a cupboard and returns to the bathroom. He feels very alone. He removes his pyjamas and gets into the steam-filled shower. - she's gone - she's gone" - but the camera moves to reveal that he is not alone after all. BEAN has, simply entered the shower, and is now happily soaping himself, wearing ALISON's shower cap. manly screams from the both of them. BEAN thinks hard, then looks at his watch, makes his excuses and simple walks away. There is a folded ironing board balanced over a roll of hall carpet, see-saw fashion. One end of it is wedged under the wardrobe. BEAN's G.P.O. phone rings on the table and it's vibrations cause the bust of BEETHOVEN to fall over the edge of the table. It lands on the end of the ironing board. The Wardrobe groans as it is set off balance and falls against the wall with a heavy thump! and raising of dust. The string tied to its handle becomes taut. CUT TO: the T.V. plug in its socket. This end of the string is tied to it. The string tightens and the plug is yanked out of the socket. The T.V. screen goes blank. Shot of TEDDY in the cardboard hotel'. Sure enough, all around are posters, and the silhouette of Whistler's Mother. BEAN nods, though fairly distracted by the slice of gherkin he's found in his bun and now picks out with his fingers. The three arrive outside a large oak door. ELMER ceremoniously unlocks the door, all the time glaring at BEAN - who swallows hard. A light turns green and a buzzer sounds. Then there is the | What kind of clothing is Bean wearing at the hospital? | He is wearing Doctor's uniform. |
Subsets and Splits