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with REKALL's numbers. Scene opens on a CU of McCLANE, a genial, bubbling, enthus- iastic man. McCLANE We're all dreamers, Douglas. But here at Rekall, dreams are our business. He presses a button on his desk and the chairs on which they are seated appear to be in outer space. Countless stars glitter all around. Startlingly, a comet whizzes by. Quail is amazed. McClane grins and presses the button again. The scene changes to a beautiful underwater coral reef. Multi-colored fish swim around the chairs and desk. McCLANE (shaking his head; smiling) We prefer the term "extra- factual implant". Your memory will be complete in every way. You will have gone to Mars. We guarantee that. McCLANE Not when you deal with qualified operators - like us. He presses the button again and the normal office returns. Quail looks around, impressed. McCLANE And look at our follow-up program! He puts items on the desk as he talks. McCLANE (continuing) Space-flight ticket stub... passport... vaccination certificates... matchbooks from Martian Nouvelle Cuisine Restaurants, souvenirs, post cards... even names of people you met - now back there - who you can call and discuss your trip with... by the way, we plant these things where you'll come across them at random in the future. McCLANE (smiling; self- satisfied) But you won't remember me, or having been here. McCLANE Your money back if you do! We've never paid out yet. Quail slumps backs in his chair, overwhelmed. McCLANE (continuing) And we have a special this month, for only two-hundred thousand dollars more. At the press of a button, a list appears on the wall... Quail's eyes linger on "Intelligence Agent." McCLANE (airily) No. No. You're a retired agent. Mars was your last mission wallet. She flips it open to show him her E.I.O. badge. He looks down uncomprehendingly at the holographic lettering "Earth Intelligence Organisation". He sits down, holds his hand to his head. A pause as Quail mentally gropes frantically, for what to do next. Quail looks at her as if seeing her for the first time. He leaves. Kirsten smiles secretively. She goes to a drawer, opens it and removes a tiny instrument that looks like a TV channel-changer. There is a very small light on the instrument, which begins flashing on and off, as the instrument begins to make BEEPING SOUNDS. The gunman reach the bottom of the stairs and race closer to the subway train, which is just departing. The men halt abruptly. The second gunman adjusts a small plug - a radio receiver - in his ear. He looks down at an illuminated street map built into the car's dashboard. From the floor, Quail pushes the door handle and rolls out onto the street. The pursuing car occupants fail to notice his exit. Bullets rip into the robot driver's neck, severing the head from the body. The head hits the window then bounces back onto the front seat. It continues talking. DESK CLERK looks up at him, with interest. His hand hovers over the money. Quail looks at him with distaste but is only anxious to be given the key to his room. He says nothing. Quail is stunned. He says nothing, but doesn't hang up. Quail puts the phone down and rushes to the bathroom. Unscientifically, he prod the screen. Still urinating, the frustrated Scott Stevens can only look back over his shoulder. Laughing, both men open fire, riddling him with bullets. doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The He stares at the two bodies, incredulous; then stares at his own deadly HANDS. It is as though they belong to someone else. Then, leaving the two agents sprawled across the alley, he races back into the basement door of his building. Kirsten gets up and turns off the movie. She starts to mix a drink from a well-stocked cabinet. Kirsten stops pouring her drink and look at him sharply. Quail points down with his finger. She sips her drink. He walks around the apartment drawing curtains and putting out the lights. Kirsten is taken aback at his use of language. He strides into the bathroom and slams the door. She turns on one lamp, goes to a telephone and dials. He turns off the water. Towelling his head dry, he opens the bathroom door. The instant he does this, a blinding white BURST OF LIGHT comes arcing into the bathroom, and the back wall crinkles and CHARS into a swatch of blackness. QUAIL DIVES OUT THE DOOR, just as ANOTHER BOLT incinerates the spot where he was standing. QUAIL and his ASSAILANT cannot be seen -- but they can be HEARD. There is the sound of a SCUFFLE -- the meaty THUD of a FIST CONNECTING WITH FLESH -- and a painful GRUNT as someone's breath whooshes out. The LIGHT COMES ON. Quail is standing with one hand on the lamp, and the other twisting KIRSTEN's arm up behind her back. A pistol lies on the floor. Quail is totally stunned. He releases her arm, shoving her away from him, at the same time scooping up the pistol. Quail is totally disoriented. As she speaks, she walks to a picture on the wall and from behind it pulls out a small Ronald Shusett and Dan O'Bannon Ronald Shusett and Steven Pressfield SUPERIMPOSE: Presenter credit. PAN DOWN lower and lower until we see the terrain below... the desert. There is no vegetation whatever, just sand and odd-shaped rock formations. The air is filled with red dust, which alternately obscures and then reveals the image. CAMERA MOVES FORWARD optically - enlarging the film grain in the process. ANOTHER ANGLE, and, in the distance, on the horizon of the arid landscape is a huge SPHINX-LIKE STRUCTURE. (It is reminiscent of the Egyptian sphinx, but both body and face, though gargoyle-like, are different in design.) There are some large pyramids not far from the sphinx. CAMERA MOVES optically FORWARD. DISSOLVE. CAMERA is much closer to the sphinx and is directly in front. It moves (combination of zoom and optical printer move) towards the eyes, which appear to be red gems. As CAMERA APPROACHES one of the eyes, it appears to be stained red glass, as in a temple. Suddenly there is a terrific explosion and the glass shatters into millions of fragments which hurtle toward the camera... The surface of the tunnel's "walls" is curious; the walls are, again, bright reddish orange, and a composite of two different substances: rough-textured, clay-like material and red quartz, which glistens like crystal. The man throws a backward glance over his shoulder, fear- fully, as he runs. His HANDS are SPLATTERED with BLOOD. Because of this, the RED GLOW, the air of FEAR to the man, and the GROUND HEAVING and BUCKLING, there is almost a SATANIC suggestion to the scene. Suddenly, up AHEAD of the man, there appears a BRILLIANT WHITE LIGHT. He SEES IT, and runs even faster towards it. We are ALMOST UP TO | What does the reactor release into the Martian atmosphere? | Air |
with REKALL's numbers. Scene opens on a CU of McCLANE, a genial, bubbling, enthus- iastic man. McCLANE We're all dreamers, Douglas. But here at Rekall, dreams are our business. He presses a button on his desk and the chairs on which they are seated appear to be in outer space. Countless stars glitter all around. Startlingly, a comet whizzes by. Quail is amazed. McClane grins and presses the button again. The scene changes to a beautiful underwater coral reef. Multi-colored fish swim around the chairs and desk. McCLANE (shaking his head; smiling) We prefer the term "extra- factual implant". Your memory will be complete in every way. You will have gone to Mars. We guarantee that. McCLANE Not when you deal with qualified operators - like us. He presses the button again and the normal office returns. Quail looks around, impressed. McCLANE And look at our follow-up program! He puts items on the desk as he talks. McCLANE (continuing) Space-flight ticket stub... passport... vaccination certificates... matchbooks from Martian Nouvelle Cuisine Restaurants, souvenirs, post cards... even names of people you met - now back there - who you can call and discuss your trip with... by the way, we plant these things where you'll come across them at random in the future. McCLANE (smiling; self- satisfied) But you won't remember me, or having been here. McCLANE Your money back if you do! We've never paid out yet. Quail slumps backs in his chair, overwhelmed. McCLANE (continuing) And we have a special this month, for only two-hundred thousand dollars more. At the press of a button, a list appears on the wall... Quail's eyes linger on "Intelligence Agent." McCLANE (airily) No. No. You're a retired agent. Mars was your last mission doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The wallet. She flips it open to show him her E.I.O. badge. He looks down uncomprehendingly at the holographic lettering "Earth Intelligence Organisation". He sits down, holds his hand to his head. A pause as Quail mentally gropes frantically, for what to do next. Quail looks at her as if seeing her for the first time. He leaves. Kirsten smiles secretively. She goes to a drawer, opens it and removes a tiny instrument that looks like a TV channel-changer. There is a very small light on the instrument, which begins flashing on and off, as the instrument begins to make BEEPING SOUNDS. The gunman reach the bottom of the stairs and race closer to the subway train, which is just departing. The men halt abruptly. The second gunman adjusts a small plug - a radio receiver - in his ear. He looks down at an illuminated street map built into the car's dashboard. From the floor, Quail pushes the door handle and rolls out onto the street. The pursuing car occupants fail to notice his exit. Bullets rip into the robot driver's neck, severing the head from the body. The head hits the window then bounces back onto the front seat. It continues talking. DESK CLERK looks up at him, with interest. His hand hovers over the money. Quail looks at him with distaste but is only anxious to be given the key to his room. He says nothing. Quail is stunned. He says nothing, but doesn't hang up. Quail puts the phone down and rushes to the bathroom. Unscientifically, he prod the screen. Still urinating, the frustrated Scott Stevens can only look back over his shoulder. Laughing, both men open fire, riddling him with bullets. on, stare out as Bennie claws desperately at his severed air line. The Martian vacuum pulls the oxygen from Bennie's lungs, he chokes, staggers -- A driver in one of the patrol vehicles (filmed from outside the windscreen) is speaking into a microphone. He can't be heard but can only be radioing a report. Quail mans the controls while Melina struggles to shore up the gaping hole in the side, into which SAND is POURING as the mole moves forward. Quail looks at a compass in the control panel. He makes a correction. Sand pours over him from bullet holes resulting from the encounter with patrol cars. CU speedometer: 22 MPH. Every other gauge is overheating, flashing WARNING LIGHTS -- On some of the video screens a number of space shuttles can be seen, ready for departure to Earth. There's a lighted area at the end of the tunnel. Quail and Melina hurry toward it, moving silently, close to the wall. Quail and Melina are forty feet below the upper end of the main downshaft. They can look up the shaft and see the first interior level of the Sphinx itself. He's right at home -- and full of confidence. Quail climbs onto the ladder, which links various top levels. He starts to climb. Melina follows him. They are tiny figures. The space around them plummets down to infinity. Seven of the Guards move off, two remain in position. We HEAR the FOOTSTEPS of the seven guards recede. The two remaining guards realize their isolation; they glance tensely to one another. The First Guard points to the edge of the main shaft -- right where Quail and Melina are hiding. The Guards cock their weapons, start cautiously he's been, where he's going and who we are, the better off we'll all be. I'm taking a holiday. A real one. He leaves. The others stare after him, looking very grim. An attractive RECEPTIONIST, her bare breasts visible through a clear plastic blouse, watches him; she then looks toward McClane who has half-opened the door to view Quail's progress. Although the driver's voice is a little mechanical (flat in tone) he is filmed from Quail's POV, and it isn't obvious he is anything other than an ordinary cab driver. Camera now cuts to a shot in front of the driver. He is a fairly human-like robot. Filmed from the elevator end of the area, we see the cab pull up and Quail alight and enter the building. He nods to the doorman and approaches the elevators. As he reaches them a MAN steps out from behind the camera. A 2ND MAN enters from a door opposite the elevators. Quail looks at them and becomes quite panicky. He takes a modern, lethal gun from his pocket. Quail turns, but the other man is behind him. Quail looks toward the doorman, who is paying little attention to the events. As the two men edge Quail towards the door, he call out... But the doorman turns calmly away. Neither man bothers answering. They arrive at their car and open the door for Quail. He hesitates. He slaps Quail hard across the face. Quail is terrified. He is tearful with fear. He cringes. His hands across his face. They start to force him into the car physically. Suddenly, Quail stops cringing. the FEAR DISAPPEARS FROM HIS FACE, and is replaced by an odd, thoughtful expression. Quail steps back. | What is the name of Dennis Quaid's fake wife? | Lori |
with REKALL's numbers. Scene opens on a CU of McCLANE, a genial, bubbling, enthus- iastic man. McCLANE We're all dreamers, Douglas. But here at Rekall, dreams are our business. He presses a button on his desk and the chairs on which they are seated appear to be in outer space. Countless stars glitter all around. Startlingly, a comet whizzes by. Quail is amazed. McClane grins and presses the button again. The scene changes to a beautiful underwater coral reef. Multi-colored fish swim around the chairs and desk. McCLANE (shaking his head; smiling) We prefer the term "extra- factual implant". Your memory will be complete in every way. You will have gone to Mars. We guarantee that. McCLANE Not when you deal with qualified operators - like us. He presses the button again and the normal office returns. Quail looks around, impressed. McCLANE And look at our follow-up program! He puts items on the desk as he talks. McCLANE (continuing) Space-flight ticket stub... passport... vaccination certificates... matchbooks from Martian Nouvelle Cuisine Restaurants, souvenirs, post cards... even names of people you met - now back there - who you can call and discuss your trip with... by the way, we plant these things where you'll come across them at random in the future. McCLANE (smiling; self- satisfied) But you won't remember me, or having been here. McCLANE Your money back if you do! We've never paid out yet. Quail slumps backs in his chair, overwhelmed. McCLANE (continuing) And we have a special this month, for only two-hundred thousand dollars more. At the press of a button, a list appears on the wall... Quail's eyes linger on "Intelligence Agent." McCLANE (airily) No. No. You're a retired agent. Mars was your last mission doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The he's been, where he's going and who we are, the better off we'll all be. I'm taking a holiday. A real one. He leaves. The others stare after him, looking very grim. An attractive RECEPTIONIST, her bare breasts visible through a clear plastic blouse, watches him; she then looks toward McClane who has half-opened the door to view Quail's progress. Although the driver's voice is a little mechanical (flat in tone) he is filmed from Quail's POV, and it isn't obvious he is anything other than an ordinary cab driver. Camera now cuts to a shot in front of the driver. He is a fairly human-like robot. Filmed from the elevator end of the area, we see the cab pull up and Quail alight and enter the building. He nods to the doorman and approaches the elevators. As he reaches them a MAN steps out from behind the camera. A 2ND MAN enters from a door opposite the elevators. Quail looks at them and becomes quite panicky. He takes a modern, lethal gun from his pocket. Quail turns, but the other man is behind him. Quail looks toward the doorman, who is paying little attention to the events. As the two men edge Quail towards the door, he call out... But the doorman turns calmly away. Neither man bothers answering. They arrive at their car and open the door for Quail. He hesitates. He slaps Quail hard across the face. Quail is terrified. He is tearful with fear. He cringes. His hands across his face. They start to force him into the car physically. Suddenly, Quail stops cringing. the FEAR DISAPPEARS FROM HIS FACE, and is replaced by an odd, thoughtful expression. Quail steps back. on, stare out as Bennie claws desperately at his severed air line. The Martian vacuum pulls the oxygen from Bennie's lungs, he chokes, staggers -- A driver in one of the patrol vehicles (filmed from outside the windscreen) is speaking into a microphone. He can't be heard but can only be radioing a report. Quail mans the controls while Melina struggles to shore up the gaping hole in the side, into which SAND is POURING as the mole moves forward. Quail looks at a compass in the control panel. He makes a correction. Sand pours over him from bullet holes resulting from the encounter with patrol cars. CU speedometer: 22 MPH. Every other gauge is overheating, flashing WARNING LIGHTS -- On some of the video screens a number of space shuttles can be seen, ready for departure to Earth. There's a lighted area at the end of the tunnel. Quail and Melina hurry toward it, moving silently, close to the wall. Quail and Melina are forty feet below the upper end of the main downshaft. They can look up the shaft and see the first interior level of the Sphinx itself. He's right at home -- and full of confidence. Quail climbs onto the ladder, which links various top levels. He starts to climb. Melina follows him. They are tiny figures. The space around them plummets down to infinity. Seven of the Guards move off, two remain in position. We HEAR the FOOTSTEPS of the seven guards recede. The two remaining guards realize their isolation; they glance tensely to one another. The First Guard points to the edge of the main shaft -- right where Quail and Melina are hiding. The Guards cock their weapons, start cautiously THE LIGHT, and we SEE HANDS REACHING OUT OF THE LIGHT TOWARDS US... that seem to beckon him to <b> SAFETY. </b> ABRUPTLY, the ENTIRE SCREEN GOES RED, BUT IN REVERSE NEGATIVE; with YELLOW LAYOVERS. (So that all the images we see -- ENTIRE FRAME -- are small YELLOW AREAS diffused on a RED BACKGROUND.) It is much like looking at a tableau made out of molten lava. Gradually the room lights BRIGHTEN. The CLOCK CHIMES and begins SPEAKING in a soft, feminine voice. They don't budge. Shortly, the clock CHIMES again. Quail's wife stirs. Maddeningly, the clock CHIMES a third time. Quail reaches out and shuts the clock off. Then he sits up in bed. He swings his legs out from under the covers and sits on the edge of the bed. He puts on his glasses and sits, lost in thought. He is a good-looking but conventional man in his early thirties. He seems rather in awe of his wife, who is attractive and rather off-hand towards him. Kirsten pulls on her robe, lights a cigarette, sits fishing for her slippers. Quail looks at her quizzically. Quail looks crestfallen. She leaves the room. He meditates on what she said, depressed. Drinking his coffee, Quail studies the wall with the air of a man who had his "node stuck in a newspaper," ignoring his wife. The newspaper headline reads: "RIOTING ON MARS OVER WATER <b> TAX." </b> His wife is reading a different article: "Four Women Rape Man in Park." Quail is absorbed in his own paper and doesn't hear her. She gestures toward the TV screen where Martian police are keeping protesters | Which 5 items are in the suitcase that Quaid is given? | Fake ID's, money, gadgets, disguise, video recording. |
with REKALL's numbers. Scene opens on a CU of McCLANE, a genial, bubbling, enthus- iastic man. McCLANE We're all dreamers, Douglas. But here at Rekall, dreams are our business. He presses a button on his desk and the chairs on which they are seated appear to be in outer space. Countless stars glitter all around. Startlingly, a comet whizzes by. Quail is amazed. McClane grins and presses the button again. The scene changes to a beautiful underwater coral reef. Multi-colored fish swim around the chairs and desk. McCLANE (shaking his head; smiling) We prefer the term "extra- factual implant". Your memory will be complete in every way. You will have gone to Mars. We guarantee that. McCLANE Not when you deal with qualified operators - like us. He presses the button again and the normal office returns. Quail looks around, impressed. McCLANE And look at our follow-up program! He puts items on the desk as he talks. McCLANE (continuing) Space-flight ticket stub... passport... vaccination certificates... matchbooks from Martian Nouvelle Cuisine Restaurants, souvenirs, post cards... even names of people you met - now back there - who you can call and discuss your trip with... by the way, we plant these things where you'll come across them at random in the future. McCLANE (smiling; self- satisfied) But you won't remember me, or having been here. McCLANE Your money back if you do! We've never paid out yet. Quail slumps backs in his chair, overwhelmed. McCLANE (continuing) And we have a special this month, for only two-hundred thousand dollars more. At the press of a button, a list appears on the wall... Quail's eyes linger on "Intelligence Agent." McCLANE (airily) No. No. You're a retired agent. Mars was your last mission doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The Ronald Shusett and Dan O'Bannon Ronald Shusett and Steven Pressfield SUPERIMPOSE: Presenter credit. PAN DOWN lower and lower until we see the terrain below... the desert. There is no vegetation whatever, just sand and odd-shaped rock formations. The air is filled with red dust, which alternately obscures and then reveals the image. CAMERA MOVES FORWARD optically - enlarging the film grain in the process. ANOTHER ANGLE, and, in the distance, on the horizon of the arid landscape is a huge SPHINX-LIKE STRUCTURE. (It is reminiscent of the Egyptian sphinx, but both body and face, though gargoyle-like, are different in design.) There are some large pyramids not far from the sphinx. CAMERA MOVES optically FORWARD. DISSOLVE. CAMERA is much closer to the sphinx and is directly in front. It moves (combination of zoom and optical printer move) towards the eyes, which appear to be red gems. As CAMERA APPROACHES one of the eyes, it appears to be stained red glass, as in a temple. Suddenly there is a terrific explosion and the glass shatters into millions of fragments which hurtle toward the camera... The surface of the tunnel's "walls" is curious; the walls are, again, bright reddish orange, and a composite of two different substances: rough-textured, clay-like material and red quartz, which glistens like crystal. The man throws a backward glance over his shoulder, fear- fully, as he runs. His HANDS are SPLATTERED with BLOOD. Because of this, the RED GLOW, the air of FEAR to the man, and the GROUND HEAVING and BUCKLING, there is almost a SATANIC suggestion to the scene. Suddenly, up AHEAD of the man, there appears a BRILLIANT WHITE LIGHT. He SEES IT, and runs even faster towards it. We are ALMOST UP TO on, stare out as Bennie claws desperately at his severed air line. The Martian vacuum pulls the oxygen from Bennie's lungs, he chokes, staggers -- A driver in one of the patrol vehicles (filmed from outside the windscreen) is speaking into a microphone. He can't be heard but can only be radioing a report. Quail mans the controls while Melina struggles to shore up the gaping hole in the side, into which SAND is POURING as the mole moves forward. Quail looks at a compass in the control panel. He makes a correction. Sand pours over him from bullet holes resulting from the encounter with patrol cars. CU speedometer: 22 MPH. Every other gauge is overheating, flashing WARNING LIGHTS -- On some of the video screens a number of space shuttles can be seen, ready for departure to Earth. There's a lighted area at the end of the tunnel. Quail and Melina hurry toward it, moving silently, close to the wall. Quail and Melina are forty feet below the upper end of the main downshaft. They can look up the shaft and see the first interior level of the Sphinx itself. He's right at home -- and full of confidence. Quail climbs onto the ladder, which links various top levels. He starts to climb. Melina follows him. They are tiny figures. The space around them plummets down to infinity. Seven of the Guards move off, two remain in position. We HEAR the FOOTSTEPS of the seven guards recede. The two remaining guards realize their isolation; they glance tensely to one another. The First Guard points to the edge of the main shaft -- right where Quail and Melina are hiding. The Guards cock their weapons, start cautiously he's been, where he's going and who we are, the better off we'll all be. I'm taking a holiday. A real one. He leaves. The others stare after him, looking very grim. An attractive RECEPTIONIST, her bare breasts visible through a clear plastic blouse, watches him; she then looks toward McClane who has half-opened the door to view Quail's progress. Although the driver's voice is a little mechanical (flat in tone) he is filmed from Quail's POV, and it isn't obvious he is anything other than an ordinary cab driver. Camera now cuts to a shot in front of the driver. He is a fairly human-like robot. Filmed from the elevator end of the area, we see the cab pull up and Quail alight and enter the building. He nods to the doorman and approaches the elevators. As he reaches them a MAN steps out from behind the camera. A 2ND MAN enters from a door opposite the elevators. Quail looks at them and becomes quite panicky. He takes a modern, lethal gun from his pocket. Quail turns, but the other man is behind him. Quail looks toward the doorman, who is paying little attention to the events. As the two men edge Quail towards the door, he call out... But the doorman turns calmly away. Neither man bothers answering. They arrive at their car and open the door for Quail. He hesitates. He slaps Quail hard across the face. Quail is terrified. He is tearful with fear. He cringes. His hands across his face. They start to force him into the car physically. Suddenly, Quail stops cringing. the FEAR DISAPPEARS FROM HIS FACE, and is replaced by an odd, thoughtful expression. Quail steps back. | Who is on the video recording which was given to Quaid in the suitcase? | Quaid himself |
in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The Ronald Shusett and Dan O'Bannon Ronald Shusett and Steven Pressfield SUPERIMPOSE: Presenter credit. PAN DOWN lower and lower until we see the terrain below... the desert. There is no vegetation whatever, just sand and odd-shaped rock formations. The air is filled with red dust, which alternately obscures and then reveals the image. CAMERA MOVES FORWARD optically - enlarging the film grain in the process. ANOTHER ANGLE, and, in the distance, on the horizon of the arid landscape is a huge SPHINX-LIKE STRUCTURE. (It is reminiscent of the Egyptian sphinx, but both body and face, though gargoyle-like, are different in design.) There are some large pyramids not far from the sphinx. CAMERA MOVES optically FORWARD. DISSOLVE. CAMERA is much closer to the sphinx and is directly in front. It moves (combination of zoom and optical printer move) towards the eyes, which appear to be red gems. As CAMERA APPROACHES one of the eyes, it appears to be stained red glass, as in a temple. Suddenly there is a terrific explosion and the glass shatters into millions of fragments which hurtle toward the camera... The surface of the tunnel's "walls" is curious; the walls are, again, bright reddish orange, and a composite of two different substances: rough-textured, clay-like material and red quartz, which glistens like crystal. The man throws a backward glance over his shoulder, fear- fully, as he runs. His HANDS are SPLATTERED with BLOOD. Because of this, the RED GLOW, the air of FEAR to the man, and the GROUND HEAVING and BUCKLING, there is almost a SATANIC suggestion to the scene. Suddenly, up AHEAD of the man, there appears a BRILLIANT WHITE LIGHT. He SEES IT, and runs even faster towards it. We are ALMOST UP TO THE LIGHT, and we SEE HANDS REACHING OUT OF THE LIGHT TOWARDS US... that seem to beckon him to <b> SAFETY. </b> ABRUPTLY, the ENTIRE SCREEN GOES RED, BUT IN REVERSE NEGATIVE; with YELLOW LAYOVERS. (So that all the images we see -- ENTIRE FRAME -- are small YELLOW AREAS diffused on a RED BACKGROUND.) It is much like looking at a tableau made out of molten lava. Gradually the room lights BRIGHTEN. The CLOCK CHIMES and begins SPEAKING in a soft, feminine voice. They don't budge. Shortly, the clock CHIMES again. Quail's wife stirs. Maddeningly, the clock CHIMES a third time. Quail reaches out and shuts the clock off. Then he sits up in bed. He swings his legs out from under the covers and sits on the edge of the bed. He puts on his glasses and sits, lost in thought. He is a good-looking but conventional man in his early thirties. He seems rather in awe of his wife, who is attractive and rather off-hand towards him. Kirsten pulls on her robe, lights a cigarette, sits fishing for her slippers. Quail looks at her quizzically. Quail looks crestfallen. She leaves the room. He meditates on what she said, depressed. Drinking his coffee, Quail studies the wall with the air of a man who had his "node stuck in a newspaper," ignoring his wife. The newspaper headline reads: "RIOTING ON MARS OVER WATER <b> TAX." </b> His wife is reading a different article: "Four Women Rape Man in Park." Quail is absorbed in his own paper and doesn't hear her. She gestures toward the TV screen where Martian police are keeping protesters last of the passengers board the spacecraft. The chief PLAINCLOTHES MAN nods to an official and the door begins to close. She holds the mask to her face. There is a SIZZLING NOISE, and SMOKE rises from behind the mask. She lowers the mask. Her face is now that of QUAIL. He tears up a passport and drops it down a chute. He reaches inside his dress, starts to REMOVE his "FALSIES." A LITTLE BELL sounds, followed by INTERCOM STATIC. Quail looks up. Quail goes to a viewport and PEERS, transfixed. He is seeing... at last... the object of his obsession. AN IMMENSE ORANGE GLOBE -- so close it looks like it's going to fall on us. It dwarfs the spaceliner. The liner drops toward the surface of Mars. Below: a NETWORK OF INTERSECTING LINES crisscross the planet. A lot of greenery is evident - this is to absorb CO2 and emit oxygen, thus helping with the air supply under the dome. Some small, ragged boys look at QUAIL as he looks around before going inside the hotel. Suddenly, one of them throws a small sack at him. It hits his chest and leaves a yellow stain. The hotel DOORMAN chases the boys away.... The street song has swelled, adult MINERS and CITIZENS joining the belligerent chorus. Quail tips the doorman, enter the hotel. Quail walks past, enters the main lobby. The atrium entryway is absolutely fabulous; a complete contrast to the dirty, Casbah-like streets. AFFLUENT-LOOKING PEOPLE in spotless linen fill the lobby. Quail stops to examine a large ROTATING DISPLAY sitting on a table in the middle of the lobby. It is a stand-up model of a SPHINX. Across the top is written "THE | What is Quaids real name? | Hauser |
Ronald Shusett and Dan O'Bannon Ronald Shusett and Steven Pressfield SUPERIMPOSE: Presenter credit. PAN DOWN lower and lower until we see the terrain below... the desert. There is no vegetation whatever, just sand and odd-shaped rock formations. The air is filled with red dust, which alternately obscures and then reveals the image. CAMERA MOVES FORWARD optically - enlarging the film grain in the process. ANOTHER ANGLE, and, in the distance, on the horizon of the arid landscape is a huge SPHINX-LIKE STRUCTURE. (It is reminiscent of the Egyptian sphinx, but both body and face, though gargoyle-like, are different in design.) There are some large pyramids not far from the sphinx. CAMERA MOVES optically FORWARD. DISSOLVE. CAMERA is much closer to the sphinx and is directly in front. It moves (combination of zoom and optical printer move) towards the eyes, which appear to be red gems. As CAMERA APPROACHES one of the eyes, it appears to be stained red glass, as in a temple. Suddenly there is a terrific explosion and the glass shatters into millions of fragments which hurtle toward the camera... The surface of the tunnel's "walls" is curious; the walls are, again, bright reddish orange, and a composite of two different substances: rough-textured, clay-like material and red quartz, which glistens like crystal. The man throws a backward glance over his shoulder, fear- fully, as he runs. His HANDS are SPLATTERED with BLOOD. Because of this, the RED GLOW, the air of FEAR to the man, and the GROUND HEAVING and BUCKLING, there is almost a SATANIC suggestion to the scene. Suddenly, up AHEAD of the man, there appears a BRILLIANT WHITE LIGHT. He SEES IT, and runs even faster towards it. We are ALMOST UP TO doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches wallet. She flips it open to show him her E.I.O. badge. He looks down uncomprehendingly at the holographic lettering "Earth Intelligence Organisation". He sits down, holds his hand to his head. A pause as Quail mentally gropes frantically, for what to do next. Quail looks at her as if seeing her for the first time. He leaves. Kirsten smiles secretively. She goes to a drawer, opens it and removes a tiny instrument that looks like a TV channel-changer. There is a very small light on the instrument, which begins flashing on and off, as the instrument begins to make BEEPING SOUNDS. The gunman reach the bottom of the stairs and race closer to the subway train, which is just departing. The men halt abruptly. The second gunman adjusts a small plug - a radio receiver - in his ear. He looks down at an illuminated street map built into the car's dashboard. From the floor, Quail pushes the door handle and rolls out onto the street. The pursuing car occupants fail to notice his exit. Bullets rip into the robot driver's neck, severing the head from the body. The head hits the window then bounces back onto the front seat. It continues talking. DESK CLERK looks up at him, with interest. His hand hovers over the money. Quail looks at him with distaste but is only anxious to be given the key to his room. He says nothing. Quail is stunned. He says nothing, but doesn't hang up. Quail puts the phone down and rushes to the bathroom. Unscientifically, he prod the screen. Still urinating, the frustrated Scott Stevens can only look back over his shoulder. Laughing, both men open fire, riddling him with bullets. on, stare out as Bennie claws desperately at his severed air line. The Martian vacuum pulls the oxygen from Bennie's lungs, he chokes, staggers -- A driver in one of the patrol vehicles (filmed from outside the windscreen) is speaking into a microphone. He can't be heard but can only be radioing a report. Quail mans the controls while Melina struggles to shore up the gaping hole in the side, into which SAND is POURING as the mole moves forward. Quail looks at a compass in the control panel. He makes a correction. Sand pours over him from bullet holes resulting from the encounter with patrol cars. CU speedometer: 22 MPH. Every other gauge is overheating, flashing WARNING LIGHTS -- On some of the video screens a number of space shuttles can be seen, ready for departure to Earth. There's a lighted area at the end of the tunnel. Quail and Melina hurry toward it, moving silently, close to the wall. Quail and Melina are forty feet below the upper end of the main downshaft. They can look up the shaft and see the first interior level of the Sphinx itself. He's right at home -- and full of confidence. Quail climbs onto the ladder, which links various top levels. He starts to climb. Melina follows him. They are tiny figures. The space around them plummets down to infinity. Seven of the Guards move off, two remain in position. We HEAR the FOOTSTEPS of the seven guards recede. The two remaining guards realize their isolation; they glance tensely to one another. The First Guard points to the edge of the main shaft -- right where Quail and Melina are hiding. The Guards cock their weapons, start cautiously | What is the reason for the mutations in the people of Venusville? | Poor radiation shielding |
in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches on, stare out as Bennie claws desperately at his severed air line. The Martian vacuum pulls the oxygen from Bennie's lungs, he chokes, staggers -- A driver in one of the patrol vehicles (filmed from outside the windscreen) is speaking into a microphone. He can't be heard but can only be radioing a report. Quail mans the controls while Melina struggles to shore up the gaping hole in the side, into which SAND is POURING as the mole moves forward. Quail looks at a compass in the control panel. He makes a correction. Sand pours over him from bullet holes resulting from the encounter with patrol cars. CU speedometer: 22 MPH. Every other gauge is overheating, flashing WARNING LIGHTS -- On some of the video screens a number of space shuttles can be seen, ready for departure to Earth. There's a lighted area at the end of the tunnel. Quail and Melina hurry toward it, moving silently, close to the wall. Quail and Melina are forty feet below the upper end of the main downshaft. They can look up the shaft and see the first interior level of the Sphinx itself. He's right at home -- and full of confidence. Quail climbs onto the ladder, which links various top levels. He starts to climb. Melina follows him. They are tiny figures. The space around them plummets down to infinity. Seven of the Guards move off, two remain in position. We HEAR the FOOTSTEPS of the seven guards recede. The two remaining guards realize their isolation; they glance tensely to one another. The First Guard points to the edge of the main shaft -- right where Quail and Melina are hiding. The Guards cock their weapons, start cautiously he's been, where he's going and who we are, the better off we'll all be. I'm taking a holiday. A real one. He leaves. The others stare after him, looking very grim. An attractive RECEPTIONIST, her bare breasts visible through a clear plastic blouse, watches him; she then looks toward McClane who has half-opened the door to view Quail's progress. Although the driver's voice is a little mechanical (flat in tone) he is filmed from Quail's POV, and it isn't obvious he is anything other than an ordinary cab driver. Camera now cuts to a shot in front of the driver. He is a fairly human-like robot. Filmed from the elevator end of the area, we see the cab pull up and Quail alight and enter the building. He nods to the doorman and approaches the elevators. As he reaches them a MAN steps out from behind the camera. A 2ND MAN enters from a door opposite the elevators. Quail looks at them and becomes quite panicky. He takes a modern, lethal gun from his pocket. Quail turns, but the other man is behind him. Quail looks toward the doorman, who is paying little attention to the events. As the two men edge Quail towards the door, he call out... But the doorman turns calmly away. Neither man bothers answering. They arrive at their car and open the door for Quail. He hesitates. He slaps Quail hard across the face. Quail is terrified. He is tearful with fear. He cringes. His hands across his face. They start to force him into the car physically. Suddenly, Quail stops cringing. the FEAR DISAPPEARS FROM HIS FACE, and is replaced by an odd, thoughtful expression. Quail steps back. last of the passengers board the spacecraft. The chief PLAINCLOTHES MAN nods to an official and the door begins to close. She holds the mask to her face. There is a SIZZLING NOISE, and SMOKE rises from behind the mask. She lowers the mask. Her face is now that of QUAIL. He tears up a passport and drops it down a chute. He reaches inside his dress, starts to REMOVE his "FALSIES." A LITTLE BELL sounds, followed by INTERCOM STATIC. Quail looks up. Quail goes to a viewport and PEERS, transfixed. He is seeing... at last... the object of his obsession. AN IMMENSE ORANGE GLOBE -- so close it looks like it's going to fall on us. It dwarfs the spaceliner. The liner drops toward the surface of Mars. Below: a NETWORK OF INTERSECTING LINES crisscross the planet. A lot of greenery is evident - this is to absorb CO2 and emit oxygen, thus helping with the air supply under the dome. Some small, ragged boys look at QUAIL as he looks around before going inside the hotel. Suddenly, one of them throws a small sack at him. It hits his chest and leaves a yellow stain. The hotel DOORMAN chases the boys away.... The street song has swelled, adult MINERS and CITIZENS joining the belligerent chorus. Quail tips the doorman, enter the hotel. Quail walks past, enters the main lobby. The atrium entryway is absolutely fabulous; a complete contrast to the dirty, Casbah-like streets. AFFLUENT-LOOKING PEOPLE in spotless linen fill the lobby. Quail stops to examine a large ROTATING DISPLAY sitting on a table in the middle of the lobby. It is a stand-up model of a SPHINX. Across the top is written "THE blank section on the panel. Slowly, through the panel, a luminous hand reaches toward Quail's fingers. Gently, the fingers of the two hands touch. The entire control room begins to rumble and shudder. As Quail reaches for Melina, Cohaagen suddenly dives on him. They grapple amid the shuddering Sphinx and can be seen only intermittently as debris crashes around them. The fight ends as Cohaagen is hurled backwards and disappears when a section of floor collapses underneath him. Quail clamps him breathing mask on as he runs. Is this his own death? Where is Melina? The tunnel walls are just like the ones in Quail's original nightmare -- bright reddish-orange, clay and quartz. Quail throws a backward glance fearfully over his shoulder. The EXPLOSIONS are closer. Suddenly -- Up ahead appears a BRILLIANT WHITE LIGHT. Quail sees it, but it only terrifies him more. Is it death he's running to? He hurries on with all his strength, but -- Just as he nears the white light, HE FALLS. On his knees, too weak to move. He struggles -- HANDS ARE REACHING OUT TO HIM, from out of the brilliant light. Quail stretches for them, just as -- A FINAL EXPLOSION blows him forward -- straight into the WHITE LIGHT! The HANDS SEIZE HIM, pull him upward to -- MINER (from Melina's bar) I'd say in about forty years... (he and others help Quail to his feet) ...come on, we've gotta get to the Space Port. That Intergalactic Napoleon's switched off the air. A MINER'S WIFE watches them. She is crying. Quail looks up at the sky. Melina follows his glance. So do the others. Slowly, but perceptibly, the color is changing from yellow to blue. All the miners are puzzled, apprehensive. Quail reaches toward the one who spoke to him before and pulls off his breathing apparatus. At first the man is shocked, then realizes he can breathe without it. Quail takes off his own, then Melina's All the miners watch in amazement. They all remove their breathing masks. Melina embraces him. Melina looks oddly at him, smiling, mysterious. As the sky becomes more and more blue, more of the Miners descend from the bus. Softly at first, then with more and more confidence, they begin singing the Martian National Anthem. The music swells. Quail puts his arm around Melina. They both join in the chorus. It reaches an impassioned crescendo as the FRAME FREEZES and the END CREDITS ROLL UP the screen. | Why does Melina spurn Quaid when he meets her in Venusville? | She believes he is still working for Cohaagen |
with REKALL's numbers. Scene opens on a CU of McCLANE, a genial, bubbling, enthus- iastic man. McCLANE We're all dreamers, Douglas. But here at Rekall, dreams are our business. He presses a button on his desk and the chairs on which they are seated appear to be in outer space. Countless stars glitter all around. Startlingly, a comet whizzes by. Quail is amazed. McClane grins and presses the button again. The scene changes to a beautiful underwater coral reef. Multi-colored fish swim around the chairs and desk. McCLANE (shaking his head; smiling) We prefer the term "extra- factual implant". Your memory will be complete in every way. You will have gone to Mars. We guarantee that. McCLANE Not when you deal with qualified operators - like us. He presses the button again and the normal office returns. Quail looks around, impressed. McCLANE And look at our follow-up program! He puts items on the desk as he talks. McCLANE (continuing) Space-flight ticket stub... passport... vaccination certificates... matchbooks from Martian Nouvelle Cuisine Restaurants, souvenirs, post cards... even names of people you met - now back there - who you can call and discuss your trip with... by the way, we plant these things where you'll come across them at random in the future. McCLANE (smiling; self- satisfied) But you won't remember me, or having been here. McCLANE Your money back if you do! We've never paid out yet. Quail slumps backs in his chair, overwhelmed. McCLANE (continuing) And we have a special this month, for only two-hundred thousand dollars more. At the press of a button, a list appears on the wall... Quail's eyes linger on "Intelligence Agent." McCLANE (airily) No. No. You're a retired agent. Mars was your last mission wallet. She flips it open to show him her E.I.O. badge. He looks down uncomprehendingly at the holographic lettering "Earth Intelligence Organisation". He sits down, holds his hand to his head. A pause as Quail mentally gropes frantically, for what to do next. Quail looks at her as if seeing her for the first time. He leaves. Kirsten smiles secretively. She goes to a drawer, opens it and removes a tiny instrument that looks like a TV channel-changer. There is a very small light on the instrument, which begins flashing on and off, as the instrument begins to make BEEPING SOUNDS. The gunman reach the bottom of the stairs and race closer to the subway train, which is just departing. The men halt abruptly. The second gunman adjusts a small plug - a radio receiver - in his ear. He looks down at an illuminated street map built into the car's dashboard. From the floor, Quail pushes the door handle and rolls out onto the street. The pursuing car occupants fail to notice his exit. Bullets rip into the robot driver's neck, severing the head from the body. The head hits the window then bounces back onto the front seat. It continues talking. DESK CLERK looks up at him, with interest. His hand hovers over the money. Quail looks at him with distaste but is only anxious to be given the key to his room. He says nothing. Quail is stunned. He says nothing, but doesn't hang up. Quail puts the phone down and rushes to the bathroom. Unscientifically, he prod the screen. Still urinating, the frustrated Scott Stevens can only look back over his shoulder. Laughing, both men open fire, riddling him with bullets. doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches blank section on the panel. Slowly, through the panel, a luminous hand reaches toward Quail's fingers. Gently, the fingers of the two hands touch. The entire control room begins to rumble and shudder. As Quail reaches for Melina, Cohaagen suddenly dives on him. They grapple amid the shuddering Sphinx and can be seen only intermittently as debris crashes around them. The fight ends as Cohaagen is hurled backwards and disappears when a section of floor collapses underneath him. Quail clamps him breathing mask on as he runs. Is this his own death? Where is Melina? The tunnel walls are just like the ones in Quail's original nightmare -- bright reddish-orange, clay and quartz. Quail throws a backward glance fearfully over his shoulder. The EXPLOSIONS are closer. Suddenly -- Up ahead appears a BRILLIANT WHITE LIGHT. Quail sees it, but it only terrifies him more. Is it death he's running to? He hurries on with all his strength, but -- Just as he nears the white light, HE FALLS. On his knees, too weak to move. He struggles -- HANDS ARE REACHING OUT TO HIM, from out of the brilliant light. Quail stretches for them, just as -- A FINAL EXPLOSION blows him forward -- straight into the WHITE LIGHT! The HANDS SEIZE HIM, pull him upward to -- MINER (from Melina's bar) I'd say in about forty years... (he and others help Quail to his feet) ...come on, we've gotta get to the Space Port. That Intergalactic Napoleon's switched off the air. A MINER'S WIFE watches them. She is crying. Quail looks up at the sky. Melina follows his glance. So do the others. Slowly, but perceptibly, the color is changing from yellow to blue. All the miners are puzzled, apprehensive. Quail reaches toward the one who spoke to him before and pulls off his breathing apparatus. At first the man is shocked, then realizes he can breathe without it. Quail takes off his own, then Melina's All the miners watch in amazement. They all remove their breathing masks. Melina embraces him. Melina looks oddly at him, smiling, mysterious. As the sky becomes more and more blue, more of the Miners descend from the bus. Softly at first, then with more and more confidence, they begin singing the Martian National Anthem. The music swells. Quail puts his arm around Melina. They both join in the chorus. It reaches an impassioned crescendo as the FRAME FREEZES and the END CREDITS ROLL UP the screen. | What does the reactor do to the atmosphere in Mars once it is activated by Quaid? | It releases breathable air into the atmosphere of Mars. |
in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The wallet. She flips it open to show him her E.I.O. badge. He looks down uncomprehendingly at the holographic lettering "Earth Intelligence Organisation". He sits down, holds his hand to his head. A pause as Quail mentally gropes frantically, for what to do next. Quail looks at her as if seeing her for the first time. He leaves. Kirsten smiles secretively. She goes to a drawer, opens it and removes a tiny instrument that looks like a TV channel-changer. There is a very small light on the instrument, which begins flashing on and off, as the instrument begins to make BEEPING SOUNDS. The gunman reach the bottom of the stairs and race closer to the subway train, which is just departing. The men halt abruptly. The second gunman adjusts a small plug - a radio receiver - in his ear. He looks down at an illuminated street map built into the car's dashboard. From the floor, Quail pushes the door handle and rolls out onto the street. The pursuing car occupants fail to notice his exit. Bullets rip into the robot driver's neck, severing the head from the body. The head hits the window then bounces back onto the front seat. It continues talking. DESK CLERK looks up at him, with interest. His hand hovers over the money. Quail looks at him with distaste but is only anxious to be given the key to his room. He says nothing. Quail is stunned. He says nothing, but doesn't hang up. Quail puts the phone down and rushes to the bathroom. Unscientifically, he prod the screen. Still urinating, the frustrated Scott Stevens can only look back over his shoulder. Laughing, both men open fire, riddling him with bullets. Ronald Shusett and Dan O'Bannon Ronald Shusett and Steven Pressfield SUPERIMPOSE: Presenter credit. PAN DOWN lower and lower until we see the terrain below... the desert. There is no vegetation whatever, just sand and odd-shaped rock formations. The air is filled with red dust, which alternately obscures and then reveals the image. CAMERA MOVES FORWARD optically - enlarging the film grain in the process. ANOTHER ANGLE, and, in the distance, on the horizon of the arid landscape is a huge SPHINX-LIKE STRUCTURE. (It is reminiscent of the Egyptian sphinx, but both body and face, though gargoyle-like, are different in design.) There are some large pyramids not far from the sphinx. CAMERA MOVES optically FORWARD. DISSOLVE. CAMERA is much closer to the sphinx and is directly in front. It moves (combination of zoom and optical printer move) towards the eyes, which appear to be red gems. As CAMERA APPROACHES one of the eyes, it appears to be stained red glass, as in a temple. Suddenly there is a terrific explosion and the glass shatters into millions of fragments which hurtle toward the camera... The surface of the tunnel's "walls" is curious; the walls are, again, bright reddish orange, and a composite of two different substances: rough-textured, clay-like material and red quartz, which glistens like crystal. The man throws a backward glance over his shoulder, fear- fully, as he runs. His HANDS are SPLATTERED with BLOOD. Because of this, the RED GLOW, the air of FEAR to the man, and the GROUND HEAVING and BUCKLING, there is almost a SATANIC suggestion to the scene. Suddenly, up AHEAD of the man, there appears a BRILLIANT WHITE LIGHT. He SEES IT, and runs even faster towards it. We are ALMOST UP TO on, stare out as Bennie claws desperately at his severed air line. The Martian vacuum pulls the oxygen from Bennie's lungs, he chokes, staggers -- A driver in one of the patrol vehicles (filmed from outside the windscreen) is speaking into a microphone. He can't be heard but can only be radioing a report. Quail mans the controls while Melina struggles to shore up the gaping hole in the side, into which SAND is POURING as the mole moves forward. Quail looks at a compass in the control panel. He makes a correction. Sand pours over him from bullet holes resulting from the encounter with patrol cars. CU speedometer: 22 MPH. Every other gauge is overheating, flashing WARNING LIGHTS -- On some of the video screens a number of space shuttles can be seen, ready for departure to Earth. There's a lighted area at the end of the tunnel. Quail and Melina hurry toward it, moving silently, close to the wall. Quail and Melina are forty feet below the upper end of the main downshaft. They can look up the shaft and see the first interior level of the Sphinx itself. He's right at home -- and full of confidence. Quail climbs onto the ladder, which links various top levels. He starts to climb. Melina follows him. They are tiny figures. The space around them plummets down to infinity. Seven of the Guards move off, two remain in position. We HEAR the FOOTSTEPS of the seven guards recede. The two remaining guards realize their isolation; they glance tensely to one another. The First Guard points to the edge of the main shaft -- right where Quail and Melina are hiding. The Guards cock their weapons, start cautiously | What is the name of the parasitic twin who is the leader of the resistance? | Kuato |
in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches with REKALL's numbers. Scene opens on a CU of McCLANE, a genial, bubbling, enthus- iastic man. McCLANE We're all dreamers, Douglas. But here at Rekall, dreams are our business. He presses a button on his desk and the chairs on which they are seated appear to be in outer space. Countless stars glitter all around. Startlingly, a comet whizzes by. Quail is amazed. McClane grins and presses the button again. The scene changes to a beautiful underwater coral reef. Multi-colored fish swim around the chairs and desk. McCLANE (shaking his head; smiling) We prefer the term "extra- factual implant". Your memory will be complete in every way. You will have gone to Mars. We guarantee that. McCLANE Not when you deal with qualified operators - like us. He presses the button again and the normal office returns. Quail looks around, impressed. McCLANE And look at our follow-up program! He puts items on the desk as he talks. McCLANE (continuing) Space-flight ticket stub... passport... vaccination certificates... matchbooks from Martian Nouvelle Cuisine Restaurants, souvenirs, post cards... even names of people you met - now back there - who you can call and discuss your trip with... by the way, we plant these things where you'll come across them at random in the future. McCLANE (smiling; self- satisfied) But you won't remember me, or having been here. McCLANE Your money back if you do! We've never paid out yet. Quail slumps backs in his chair, overwhelmed. McCLANE (continuing) And we have a special this month, for only two-hundred thousand dollars more. At the press of a button, a list appears on the wall... Quail's eyes linger on "Intelligence Agent." McCLANE (airily) No. No. You're a retired agent. Mars was your last mission he's been, where he's going and who we are, the better off we'll all be. I'm taking a holiday. A real one. He leaves. The others stare after him, looking very grim. An attractive RECEPTIONIST, her bare breasts visible through a clear plastic blouse, watches him; she then looks toward McClane who has half-opened the door to view Quail's progress. Although the driver's voice is a little mechanical (flat in tone) he is filmed from Quail's POV, and it isn't obvious he is anything other than an ordinary cab driver. Camera now cuts to a shot in front of the driver. He is a fairly human-like robot. Filmed from the elevator end of the area, we see the cab pull up and Quail alight and enter the building. He nods to the doorman and approaches the elevators. As he reaches them a MAN steps out from behind the camera. A 2ND MAN enters from a door opposite the elevators. Quail looks at them and becomes quite panicky. He takes a modern, lethal gun from his pocket. Quail turns, but the other man is behind him. Quail looks toward the doorman, who is paying little attention to the events. As the two men edge Quail towards the door, he call out... But the doorman turns calmly away. Neither man bothers answering. They arrive at their car and open the door for Quail. He hesitates. He slaps Quail hard across the face. Quail is terrified. He is tearful with fear. He cringes. His hands across his face. They start to force him into the car physically. Suddenly, Quail stops cringing. the FEAR DISAPPEARS FROM HIS FACE, and is replaced by an odd, thoughtful expression. Quail steps back. THE LIGHT, and we SEE HANDS REACHING OUT OF THE LIGHT TOWARDS US... that seem to beckon him to <b> SAFETY. </b> ABRUPTLY, the ENTIRE SCREEN GOES RED, BUT IN REVERSE NEGATIVE; with YELLOW LAYOVERS. (So that all the images we see -- ENTIRE FRAME -- are small YELLOW AREAS diffused on a RED BACKGROUND.) It is much like looking at a tableau made out of molten lava. Gradually the room lights BRIGHTEN. The CLOCK CHIMES and begins SPEAKING in a soft, feminine voice. They don't budge. Shortly, the clock CHIMES again. Quail's wife stirs. Maddeningly, the clock CHIMES a third time. Quail reaches out and shuts the clock off. Then he sits up in bed. He swings his legs out from under the covers and sits on the edge of the bed. He puts on his glasses and sits, lost in thought. He is a good-looking but conventional man in his early thirties. He seems rather in awe of his wife, who is attractive and rather off-hand towards him. Kirsten pulls on her robe, lights a cigarette, sits fishing for her slippers. Quail looks at her quizzically. Quail looks crestfallen. She leaves the room. He meditates on what she said, depressed. Drinking his coffee, Quail studies the wall with the air of a man who had his "node stuck in a newspaper," ignoring his wife. The newspaper headline reads: "RIOTING ON MARS OVER WATER <b> TAX." </b> His wife is reading a different article: "Four Women Rape Man in Park." Quail is absorbed in his own paper and doesn't hear her. She gestures toward the TV screen where Martian police are keeping protesters on, stare out as Bennie claws desperately at his severed air line. The Martian vacuum pulls the oxygen from Bennie's lungs, he chokes, staggers -- A driver in one of the patrol vehicles (filmed from outside the windscreen) is speaking into a microphone. He can't be heard but can only be radioing a report. Quail mans the controls while Melina struggles to shore up the gaping hole in the side, into which SAND is POURING as the mole moves forward. Quail looks at a compass in the control panel. He makes a correction. Sand pours over him from bullet holes resulting from the encounter with patrol cars. CU speedometer: 22 MPH. Every other gauge is overheating, flashing WARNING LIGHTS -- On some of the video screens a number of space shuttles can be seen, ready for departure to Earth. There's a lighted area at the end of the tunnel. Quail and Melina hurry toward it, moving silently, close to the wall. Quail and Melina are forty feet below the upper end of the main downshaft. They can look up the shaft and see the first interior level of the Sphinx itself. He's right at home -- and full of confidence. Quail climbs onto the ladder, which links various top levels. He starts to climb. Melina follows him. They are tiny figures. The space around them plummets down to infinity. Seven of the Guards move off, two remain in position. We HEAR the FOOTSTEPS of the seven guards recede. The two remaining guards realize their isolation; they glance tensely to one another. The First Guard points to the edge of the main shaft -- right where Quail and Melina are hiding. The Guards cock their weapons, start cautiously | What did Lori told Douglas Quaid about their marage? | That is was a fake memory implant and she is not his wife |
in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The wallet. She flips it open to show him her E.I.O. badge. He looks down uncomprehendingly at the holographic lettering "Earth Intelligence Organisation". He sits down, holds his hand to his head. A pause as Quail mentally gropes frantically, for what to do next. Quail looks at her as if seeing her for the first time. He leaves. Kirsten smiles secretively. She goes to a drawer, opens it and removes a tiny instrument that looks like a TV channel-changer. There is a very small light on the instrument, which begins flashing on and off, as the instrument begins to make BEEPING SOUNDS. The gunman reach the bottom of the stairs and race closer to the subway train, which is just departing. The men halt abruptly. The second gunman adjusts a small plug - a radio receiver - in his ear. He looks down at an illuminated street map built into the car's dashboard. From the floor, Quail pushes the door handle and rolls out onto the street. The pursuing car occupants fail to notice his exit. Bullets rip into the robot driver's neck, severing the head from the body. The head hits the window then bounces back onto the front seat. It continues talking. DESK CLERK looks up at him, with interest. His hand hovers over the money. Quail looks at him with distaste but is only anxious to be given the key to his room. He says nothing. Quail is stunned. He says nothing, but doesn't hang up. Quail puts the phone down and rushes to the bathroom. Unscientifically, he prod the screen. Still urinating, the frustrated Scott Stevens can only look back over his shoulder. Laughing, both men open fire, riddling him with bullets. he's been, where he's going and who we are, the better off we'll all be. I'm taking a holiday. A real one. He leaves. The others stare after him, looking very grim. An attractive RECEPTIONIST, her bare breasts visible through a clear plastic blouse, watches him; she then looks toward McClane who has half-opened the door to view Quail's progress. Although the driver's voice is a little mechanical (flat in tone) he is filmed from Quail's POV, and it isn't obvious he is anything other than an ordinary cab driver. Camera now cuts to a shot in front of the driver. He is a fairly human-like robot. Filmed from the elevator end of the area, we see the cab pull up and Quail alight and enter the building. He nods to the doorman and approaches the elevators. As he reaches them a MAN steps out from behind the camera. A 2ND MAN enters from a door opposite the elevators. Quail looks at them and becomes quite panicky. He takes a modern, lethal gun from his pocket. Quail turns, but the other man is behind him. Quail looks toward the doorman, who is paying little attention to the events. As the two men edge Quail towards the door, he call out... But the doorman turns calmly away. Neither man bothers answering. They arrive at their car and open the door for Quail. He hesitates. He slaps Quail hard across the face. Quail is terrified. He is tearful with fear. He cringes. His hands across his face. They start to force him into the car physically. Suddenly, Quail stops cringing. the FEAR DISAPPEARS FROM HIS FACE, and is replaced by an odd, thoughtful expression. Quail steps back. THE LIGHT, and we SEE HANDS REACHING OUT OF THE LIGHT TOWARDS US... that seem to beckon him to <b> SAFETY. </b> ABRUPTLY, the ENTIRE SCREEN GOES RED, BUT IN REVERSE NEGATIVE; with YELLOW LAYOVERS. (So that all the images we see -- ENTIRE FRAME -- are small YELLOW AREAS diffused on a RED BACKGROUND.) It is much like looking at a tableau made out of molten lava. Gradually the room lights BRIGHTEN. The CLOCK CHIMES and begins SPEAKING in a soft, feminine voice. They don't budge. Shortly, the clock CHIMES again. Quail's wife stirs. Maddeningly, the clock CHIMES a third time. Quail reaches out and shuts the clock off. Then he sits up in bed. He swings his legs out from under the covers and sits on the edge of the bed. He puts on his glasses and sits, lost in thought. He is a good-looking but conventional man in his early thirties. He seems rather in awe of his wife, who is attractive and rather off-hand towards him. Kirsten pulls on her robe, lights a cigarette, sits fishing for her slippers. Quail looks at her quizzically. Quail looks crestfallen. She leaves the room. He meditates on what she said, depressed. Drinking his coffee, Quail studies the wall with the air of a man who had his "node stuck in a newspaper," ignoring his wife. The newspaper headline reads: "RIOTING ON MARS OVER WATER <b> TAX." </b> His wife is reading a different article: "Four Women Rape Man in Park." Quail is absorbed in his own paper and doesn't hear her. She gestures toward the TV screen where Martian police are keeping protesters | Who was Richter? | Lori's real husband |
in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The last of the passengers board the spacecraft. The chief PLAINCLOTHES MAN nods to an official and the door begins to close. She holds the mask to her face. There is a SIZZLING NOISE, and SMOKE rises from behind the mask. She lowers the mask. Her face is now that of QUAIL. He tears up a passport and drops it down a chute. He reaches inside his dress, starts to REMOVE his "FALSIES." A LITTLE BELL sounds, followed by INTERCOM STATIC. Quail looks up. Quail goes to a viewport and PEERS, transfixed. He is seeing... at last... the object of his obsession. AN IMMENSE ORANGE GLOBE -- so close it looks like it's going to fall on us. It dwarfs the spaceliner. The liner drops toward the surface of Mars. Below: a NETWORK OF INTERSECTING LINES crisscross the planet. A lot of greenery is evident - this is to absorb CO2 and emit oxygen, thus helping with the air supply under the dome. Some small, ragged boys look at QUAIL as he looks around before going inside the hotel. Suddenly, one of them throws a small sack at him. It hits his chest and leaves a yellow stain. The hotel DOORMAN chases the boys away.... The street song has swelled, adult MINERS and CITIZENS joining the belligerent chorus. Quail tips the doorman, enter the hotel. Quail walks past, enters the main lobby. The atrium entryway is absolutely fabulous; a complete contrast to the dirty, Casbah-like streets. AFFLUENT-LOOKING PEOPLE in spotless linen fill the lobby. Quail stops to examine a large ROTATING DISPLAY sitting on a table in the middle of the lobby. It is a stand-up model of a SPHINX. Across the top is written "THE blank section on the panel. Slowly, through the panel, a luminous hand reaches toward Quail's fingers. Gently, the fingers of the two hands touch. The entire control room begins to rumble and shudder. As Quail reaches for Melina, Cohaagen suddenly dives on him. They grapple amid the shuddering Sphinx and can be seen only intermittently as debris crashes around them. The fight ends as Cohaagen is hurled backwards and disappears when a section of floor collapses underneath him. Quail clamps him breathing mask on as he runs. Is this his own death? Where is Melina? The tunnel walls are just like the ones in Quail's original nightmare -- bright reddish-orange, clay and quartz. Quail throws a backward glance fearfully over his shoulder. The EXPLOSIONS are closer. Suddenly -- Up ahead appears a BRILLIANT WHITE LIGHT. Quail sees it, but it only terrifies him more. Is it death he's running to? He hurries on with all his strength, but -- Just as he nears the white light, HE FALLS. On his knees, too weak to move. He struggles -- HANDS ARE REACHING OUT TO HIM, from out of the brilliant light. Quail stretches for them, just as -- A FINAL EXPLOSION blows him forward -- straight into the WHITE LIGHT! The HANDS SEIZE HIM, pull him upward to -- MINER (from Melina's bar) I'd say in about forty years... (he and others help Quail to his feet) ...come on, we've gotta get to the Space Port. That Intergalactic Napoleon's switched off the air. A MINER'S WIFE watches them. She is crying. Quail looks up at the sky. Melina follows his glance. So do the others. Slowly, but perceptibly, the color is changing from yellow to blue. All the miners are puzzled, apprehensive. Quail reaches toward the one who spoke to him before and pulls off his breathing apparatus. At first the man is shocked, then realizes he can breathe without it. Quail takes off his own, then Melina's All the miners watch in amazement. They all remove their breathing masks. Melina embraces him. Melina looks oddly at him, smiling, mysterious. As the sky becomes more and more blue, more of the Miners descend from the bus. Softly at first, then with more and more confidence, they begin singing the Martian National Anthem. The music swells. Quail puts his arm around Melina. They both join in the chorus. It reaches an impassioned crescendo as the FRAME FREEZES and the END CREDITS ROLL UP the screen. FIRST WONDER OF MARS". A recorded VOICE repeats a canned speech -- Quail is startled to be recognized -- particularly by this name. He tries to stay casual. The Clerk taps a few keys on a computer. The Clerk turns to the safe, retrieves an envelope. He hands it -- and an ELECTRONIC ROOM KEY -- to Quail. Quail tugs the envelope from his pocket, tears it open. Inside is a single slip of paper, on which is written in longhand: Quail emerges from the hotel, properly attired now in a white tropical suit, and starts for the taxi stand. Behind him, also emerging from the hotel, is the Shoeshine Boy. He keeps out of sight -- but is definitely tailing Quail. As Quail nears the first solar-powered taxi in line, he is approached by an amiable-looking CALYPSO GUY wearing a West Indian shirt and bright straw hat. Quail hesitates, unsure of the protocol. TWO CABBIES exchange curses as Quail, wary, follows the Calypso Guy around a corner, climbs into the small solar car. Quail and Bennie elbow their way to the bar. Fragments of conversation are overheard. Bennie and Quail pass another group. Quail attracts the attention of the BARTENDER. His nod indicates an area behind Quail. He turns to see an attractive waitress placing drinks on tables. She doesn't notice Quail. He walks toward her through the crowd. Bennie watches, then tactfully slips away. MELINA turns to return to the bar and runs straight into Quail. She stops, obviously astonished to see him. Almost in tears, she pushes her way through the crowd to a billiard room, which is separated from the main bar by swinging doors. There are no occupants and it is almost in darkness. Quail, | Who was Melina? | The woman from Quaid dream. |
with REKALL's numbers. Scene opens on a CU of McCLANE, a genial, bubbling, enthus- iastic man. McCLANE We're all dreamers, Douglas. But here at Rekall, dreams are our business. He presses a button on his desk and the chairs on which they are seated appear to be in outer space. Countless stars glitter all around. Startlingly, a comet whizzes by. Quail is amazed. McClane grins and presses the button again. The scene changes to a beautiful underwater coral reef. Multi-colored fish swim around the chairs and desk. McCLANE (shaking his head; smiling) We prefer the term "extra- factual implant". Your memory will be complete in every way. You will have gone to Mars. We guarantee that. McCLANE Not when you deal with qualified operators - like us. He presses the button again and the normal office returns. Quail looks around, impressed. McCLANE And look at our follow-up program! He puts items on the desk as he talks. McCLANE (continuing) Space-flight ticket stub... passport... vaccination certificates... matchbooks from Martian Nouvelle Cuisine Restaurants, souvenirs, post cards... even names of people you met - now back there - who you can call and discuss your trip with... by the way, we plant these things where you'll come across them at random in the future. McCLANE (smiling; self- satisfied) But you won't remember me, or having been here. McCLANE Your money back if you do! We've never paid out yet. Quail slumps backs in his chair, overwhelmed. McCLANE (continuing) And we have a special this month, for only two-hundred thousand dollars more. At the press of a button, a list appears on the wall... Quail's eyes linger on "Intelligence Agent." McCLANE (airily) No. No. You're a retired agent. Mars was your last mission in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches last of the passengers board the spacecraft. The chief PLAINCLOTHES MAN nods to an official and the door begins to close. She holds the mask to her face. There is a SIZZLING NOISE, and SMOKE rises from behind the mask. She lowers the mask. Her face is now that of QUAIL. He tears up a passport and drops it down a chute. He reaches inside his dress, starts to REMOVE his "FALSIES." A LITTLE BELL sounds, followed by INTERCOM STATIC. Quail looks up. Quail goes to a viewport and PEERS, transfixed. He is seeing... at last... the object of his obsession. AN IMMENSE ORANGE GLOBE -- so close it looks like it's going to fall on us. It dwarfs the spaceliner. The liner drops toward the surface of Mars. Below: a NETWORK OF INTERSECTING LINES crisscross the planet. A lot of greenery is evident - this is to absorb CO2 and emit oxygen, thus helping with the air supply under the dome. Some small, ragged boys look at QUAIL as he looks around before going inside the hotel. Suddenly, one of them throws a small sack at him. It hits his chest and leaves a yellow stain. The hotel DOORMAN chases the boys away.... The street song has swelled, adult MINERS and CITIZENS joining the belligerent chorus. Quail tips the doorman, enter the hotel. Quail walks past, enters the main lobby. The atrium entryway is absolutely fabulous; a complete contrast to the dirty, Casbah-like streets. AFFLUENT-LOOKING PEOPLE in spotless linen fill the lobby. Quail stops to examine a large ROTATING DISPLAY sitting on a table in the middle of the lobby. It is a stand-up model of a SPHINX. Across the top is written "THE he's been, where he's going and who we are, the better off we'll all be. I'm taking a holiday. A real one. He leaves. The others stare after him, looking very grim. An attractive RECEPTIONIST, her bare breasts visible through a clear plastic blouse, watches him; she then looks toward McClane who has half-opened the door to view Quail's progress. Although the driver's voice is a little mechanical (flat in tone) he is filmed from Quail's POV, and it isn't obvious he is anything other than an ordinary cab driver. Camera now cuts to a shot in front of the driver. He is a fairly human-like robot. Filmed from the elevator end of the area, we see the cab pull up and Quail alight and enter the building. He nods to the doorman and approaches the elevators. As he reaches them a MAN steps out from behind the camera. A 2ND MAN enters from a door opposite the elevators. Quail looks at them and becomes quite panicky. He takes a modern, lethal gun from his pocket. Quail turns, but the other man is behind him. Quail looks toward the doorman, who is paying little attention to the events. As the two men edge Quail towards the door, he call out... But the doorman turns calmly away. Neither man bothers answering. They arrive at their car and open the door for Quail. He hesitates. He slaps Quail hard across the face. Quail is terrified. He is tearful with fear. He cringes. His hands across his face. They start to force him into the car physically. Suddenly, Quail stops cringing. the FEAR DISAPPEARS FROM HIS FACE, and is replaced by an odd, thoughtful expression. Quail steps back. FIRST WONDER OF MARS". A recorded VOICE repeats a canned speech -- Quail is startled to be recognized -- particularly by this name. He tries to stay casual. The Clerk taps a few keys on a computer. The Clerk turns to the safe, retrieves an envelope. He hands it -- and an ELECTRONIC ROOM KEY -- to Quail. Quail tugs the envelope from his pocket, tears it open. Inside is a single slip of paper, on which is written in longhand: Quail emerges from the hotel, properly attired now in a white tropical suit, and starts for the taxi stand. Behind him, also emerging from the hotel, is the Shoeshine Boy. He keeps out of sight -- but is definitely tailing Quail. As Quail nears the first solar-powered taxi in line, he is approached by an amiable-looking CALYPSO GUY wearing a West Indian shirt and bright straw hat. Quail hesitates, unsure of the protocol. TWO CABBIES exchange curses as Quail, wary, follows the Calypso Guy around a corner, climbs into the small solar car. Quail and Bennie elbow their way to the bar. Fragments of conversation are overheard. Bennie and Quail pass another group. Quail attracts the attention of the BARTENDER. His nod indicates an area behind Quail. He turns to see an attractive waitress placing drinks on tables. She doesn't notice Quail. He walks toward her through the crowd. Bennie watches, then tactfully slips away. MELINA turns to return to the bar and runs straight into Quail. She stops, obviously astonished to see him. Almost in tears, she pushes her way through the crowd to a billiard room, which is separated from the main bar by swinging doors. There are no occupants and it is almost in darkness. Quail, | Who was Benny? | A tax driver |
with REKALL's numbers. Scene opens on a CU of McCLANE, a genial, bubbling, enthus- iastic man. McCLANE We're all dreamers, Douglas. But here at Rekall, dreams are our business. He presses a button on his desk and the chairs on which they are seated appear to be in outer space. Countless stars glitter all around. Startlingly, a comet whizzes by. Quail is amazed. McClane grins and presses the button again. The scene changes to a beautiful underwater coral reef. Multi-colored fish swim around the chairs and desk. McCLANE (shaking his head; smiling) We prefer the term "extra- factual implant". Your memory will be complete in every way. You will have gone to Mars. We guarantee that. McCLANE Not when you deal with qualified operators - like us. He presses the button again and the normal office returns. Quail looks around, impressed. McCLANE And look at our follow-up program! He puts items on the desk as he talks. McCLANE (continuing) Space-flight ticket stub... passport... vaccination certificates... matchbooks from Martian Nouvelle Cuisine Restaurants, souvenirs, post cards... even names of people you met - now back there - who you can call and discuss your trip with... by the way, we plant these things where you'll come across them at random in the future. McCLANE (smiling; self- satisfied) But you won't remember me, or having been here. McCLANE Your money back if you do! We've never paid out yet. Quail slumps backs in his chair, overwhelmed. McCLANE (continuing) And we have a special this month, for only two-hundred thousand dollars more. At the press of a button, a list appears on the wall... Quail's eyes linger on "Intelligence Agent." McCLANE (airily) No. No. You're a retired agent. Mars was your last mission THE LIGHT, and we SEE HANDS REACHING OUT OF THE LIGHT TOWARDS US... that seem to beckon him to <b> SAFETY. </b> ABRUPTLY, the ENTIRE SCREEN GOES RED, BUT IN REVERSE NEGATIVE; with YELLOW LAYOVERS. (So that all the images we see -- ENTIRE FRAME -- are small YELLOW AREAS diffused on a RED BACKGROUND.) It is much like looking at a tableau made out of molten lava. Gradually the room lights BRIGHTEN. The CLOCK CHIMES and begins SPEAKING in a soft, feminine voice. They don't budge. Shortly, the clock CHIMES again. Quail's wife stirs. Maddeningly, the clock CHIMES a third time. Quail reaches out and shuts the clock off. Then he sits up in bed. He swings his legs out from under the covers and sits on the edge of the bed. He puts on his glasses and sits, lost in thought. He is a good-looking but conventional man in his early thirties. He seems rather in awe of his wife, who is attractive and rather off-hand towards him. Kirsten pulls on her robe, lights a cigarette, sits fishing for her slippers. Quail looks at her quizzically. Quail looks crestfallen. She leaves the room. He meditates on what she said, depressed. Drinking his coffee, Quail studies the wall with the air of a man who had his "node stuck in a newspaper," ignoring his wife. The newspaper headline reads: "RIOTING ON MARS OVER WATER <b> TAX." </b> His wife is reading a different article: "Four Women Rape Man in Park." Quail is absorbed in his own paper and doesn't hear her. She gestures toward the TV screen where Martian police are keeping protesters he's been, where he's going and who we are, the better off we'll all be. I'm taking a holiday. A real one. He leaves. The others stare after him, looking very grim. An attractive RECEPTIONIST, her bare breasts visible through a clear plastic blouse, watches him; she then looks toward McClane who has half-opened the door to view Quail's progress. Although the driver's voice is a little mechanical (flat in tone) he is filmed from Quail's POV, and it isn't obvious he is anything other than an ordinary cab driver. Camera now cuts to a shot in front of the driver. He is a fairly human-like robot. Filmed from the elevator end of the area, we see the cab pull up and Quail alight and enter the building. He nods to the doorman and approaches the elevators. As he reaches them a MAN steps out from behind the camera. A 2ND MAN enters from a door opposite the elevators. Quail looks at them and becomes quite panicky. He takes a modern, lethal gun from his pocket. Quail turns, but the other man is behind him. Quail looks toward the doorman, who is paying little attention to the events. As the two men edge Quail towards the door, he call out... But the doorman turns calmly away. Neither man bothers answering. They arrive at their car and open the door for Quail. He hesitates. He slaps Quail hard across the face. Quail is terrified. He is tearful with fear. He cringes. His hands across his face. They start to force him into the car physically. Suddenly, Quail stops cringing. the FEAR DISAPPEARS FROM HIS FACE, and is replaced by an odd, thoughtful expression. Quail steps back. blank section on the panel. Slowly, through the panel, a luminous hand reaches toward Quail's fingers. Gently, the fingers of the two hands touch. The entire control room begins to rumble and shudder. As Quail reaches for Melina, Cohaagen suddenly dives on him. They grapple amid the shuddering Sphinx and can be seen only intermittently as debris crashes around them. The fight ends as Cohaagen is hurled backwards and disappears when a section of floor collapses underneath him. Quail clamps him breathing mask on as he runs. Is this his own death? Where is Melina? The tunnel walls are just like the ones in Quail's original nightmare -- bright reddish-orange, clay and quartz. Quail throws a backward glance fearfully over his shoulder. The EXPLOSIONS are closer. Suddenly -- Up ahead appears a BRILLIANT WHITE LIGHT. Quail sees it, but it only terrifies him more. Is it death he's running to? He hurries on with all his strength, but -- Just as he nears the white light, HE FALLS. On his knees, too weak to move. He struggles -- HANDS ARE REACHING OUT TO HIM, from out of the brilliant light. Quail stretches for them, just as -- A FINAL EXPLOSION blows him forward -- straight into the WHITE LIGHT! The HANDS SEIZE HIM, pull him upward to -- MINER (from Melina's bar) I'd say in about forty years... (he and others help Quail to his feet) ...come on, we've gotta get to the Space Port. That Intergalactic Napoleon's switched off the air. A MINER'S WIFE watches them. She is crying. Quail looks up at the sky. Melina follows his glance. So do the others. Slowly, but perceptibly, the color is changing from yellow to blue. All the miners are puzzled, apprehensive. Quail reaches toward the one who spoke to him before and pulls off his breathing apparatus. At first the man is shocked, then realizes he can breathe without it. Quail takes off his own, then Melina's All the miners watch in amazement. They all remove their breathing masks. Melina embraces him. Melina looks oddly at him, smiling, mysterious. As the sky becomes more and more blue, more of the Miners descend from the bus. Softly at first, then with more and more confidence, they begin singing the Martian National Anthem. The music swells. Quail puts his arm around Melina. They both join in the chorus. It reaches an impassioned crescendo as the FRAME FREEZES and the END CREDITS ROLL UP the screen. wallet. She flips it open to show him her E.I.O. badge. He looks down uncomprehendingly at the holographic lettering "Earth Intelligence Organisation". He sits down, holds his hand to his head. A pause as Quail mentally gropes frantically, for what to do next. Quail looks at her as if seeing her for the first time. He leaves. Kirsten smiles secretively. She goes to a drawer, opens it and removes a tiny instrument that looks like a TV channel-changer. There is a very small light on the instrument, which begins flashing on and off, as the instrument begins to make BEEPING SOUNDS. The gunman reach the bottom of the stairs and race closer to the subway train, which is just departing. The men halt abruptly. The second gunman adjusts a small plug - a radio receiver - in his ear. He looks down at an illuminated street map built into the car's dashboard. From the floor, Quail pushes the door handle and rolls out onto the street. The pursuing car occupants fail to notice his exit. Bullets rip into the robot driver's neck, severing the head from the body. The head hits the window then bounces back onto the front seat. It continues talking. DESK CLERK looks up at him, with interest. His hand hovers over the money. Quail looks at him with distaste but is only anxious to be given the key to his room. He says nothing. Quail is stunned. He says nothing, but doesn't hang up. Quail puts the phone down and rushes to the bathroom. Unscientifically, he prod the screen. Still urinating, the frustrated Scott Stevens can only look back over his shoulder. Laughing, both men open fire, riddling him with bullets. | What did Lori and Dr Edgemer told Quaid? | They told Quaid he is in a dream based on plant memories. |
in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The wallet. She flips it open to show him her E.I.O. badge. He looks down uncomprehendingly at the holographic lettering "Earth Intelligence Organisation". He sits down, holds his hand to his head. A pause as Quail mentally gropes frantically, for what to do next. Quail looks at her as if seeing her for the first time. He leaves. Kirsten smiles secretively. She goes to a drawer, opens it and removes a tiny instrument that looks like a TV channel-changer. There is a very small light on the instrument, which begins flashing on and off, as the instrument begins to make BEEPING SOUNDS. The gunman reach the bottom of the stairs and race closer to the subway train, which is just departing. The men halt abruptly. The second gunman adjusts a small plug - a radio receiver - in his ear. He looks down at an illuminated street map built into the car's dashboard. From the floor, Quail pushes the door handle and rolls out onto the street. The pursuing car occupants fail to notice his exit. Bullets rip into the robot driver's neck, severing the head from the body. The head hits the window then bounces back onto the front seat. It continues talking. DESK CLERK looks up at him, with interest. His hand hovers over the money. Quail looks at him with distaste but is only anxious to be given the key to his room. He says nothing. Quail is stunned. He says nothing, but doesn't hang up. Quail puts the phone down and rushes to the bathroom. Unscientifically, he prod the screen. Still urinating, the frustrated Scott Stevens can only look back over his shoulder. Laughing, both men open fire, riddling him with bullets. blank section on the panel. Slowly, through the panel, a luminous hand reaches toward Quail's fingers. Gently, the fingers of the two hands touch. The entire control room begins to rumble and shudder. As Quail reaches for Melina, Cohaagen suddenly dives on him. They grapple amid the shuddering Sphinx and can be seen only intermittently as debris crashes around them. The fight ends as Cohaagen is hurled backwards and disappears when a section of floor collapses underneath him. Quail clamps him breathing mask on as he runs. Is this his own death? Where is Melina? The tunnel walls are just like the ones in Quail's original nightmare -- bright reddish-orange, clay and quartz. Quail throws a backward glance fearfully over his shoulder. The EXPLOSIONS are closer. Suddenly -- Up ahead appears a BRILLIANT WHITE LIGHT. Quail sees it, but it only terrifies him more. Is it death he's running to? He hurries on with all his strength, but -- Just as he nears the white light, HE FALLS. On his knees, too weak to move. He struggles -- HANDS ARE REACHING OUT TO HIM, from out of the brilliant light. Quail stretches for them, just as -- A FINAL EXPLOSION blows him forward -- straight into the WHITE LIGHT! The HANDS SEIZE HIM, pull him upward to -- MINER (from Melina's bar) I'd say in about forty years... (he and others help Quail to his feet) ...come on, we've gotta get to the Space Port. That Intergalactic Napoleon's switched off the air. A MINER'S WIFE watches them. She is crying. Quail looks up at the sky. Melina follows his glance. So do the others. Slowly, but perceptibly, the color is changing from yellow to blue. All the miners are puzzled, apprehensive. Quail reaches toward the one who spoke to him before and pulls off his breathing apparatus. At first the man is shocked, then realizes he can breathe without it. Quail takes off his own, then Melina's All the miners watch in amazement. They all remove their breathing masks. Melina embraces him. Melina looks oddly at him, smiling, mysterious. As the sky becomes more and more blue, more of the Miners descend from the bus. Softly at first, then with more and more confidence, they begin singing the Martian National Anthem. The music swells. Quail puts his arm around Melina. They both join in the chorus. It reaches an impassioned crescendo as the FRAME FREEZES and the END CREDITS ROLL UP the screen. he's been, where he's going and who we are, the better off we'll all be. I'm taking a holiday. A real one. He leaves. The others stare after him, looking very grim. An attractive RECEPTIONIST, her bare breasts visible through a clear plastic blouse, watches him; she then looks toward McClane who has half-opened the door to view Quail's progress. Although the driver's voice is a little mechanical (flat in tone) he is filmed from Quail's POV, and it isn't obvious he is anything other than an ordinary cab driver. Camera now cuts to a shot in front of the driver. He is a fairly human-like robot. Filmed from the elevator end of the area, we see the cab pull up and Quail alight and enter the building. He nods to the doorman and approaches the elevators. As he reaches them a MAN steps out from behind the camera. A 2ND MAN enters from a door opposite the elevators. Quail looks at them and becomes quite panicky. He takes a modern, lethal gun from his pocket. Quail turns, but the other man is behind him. Quail looks toward the doorman, who is paying little attention to the events. As the two men edge Quail towards the door, he call out... But the doorman turns calmly away. Neither man bothers answering. They arrive at their car and open the door for Quail. He hesitates. He slaps Quail hard across the face. Quail is terrified. He is tearful with fear. He cringes. His hands across his face. They start to force him into the car physically. Suddenly, Quail stops cringing. the FEAR DISAPPEARS FROM HIS FACE, and is replaced by an odd, thoughtful expression. Quail steps back. | Why did Quaid killed Edgemer? | Quaid saw Edgemer looking afraid. |
in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The wallet. She flips it open to show him her E.I.O. badge. He looks down uncomprehendingly at the holographic lettering "Earth Intelligence Organisation". He sits down, holds his hand to his head. A pause as Quail mentally gropes frantically, for what to do next. Quail looks at her as if seeing her for the first time. He leaves. Kirsten smiles secretively. She goes to a drawer, opens it and removes a tiny instrument that looks like a TV channel-changer. There is a very small light on the instrument, which begins flashing on and off, as the instrument begins to make BEEPING SOUNDS. The gunman reach the bottom of the stairs and race closer to the subway train, which is just departing. The men halt abruptly. The second gunman adjusts a small plug - a radio receiver - in his ear. He looks down at an illuminated street map built into the car's dashboard. From the floor, Quail pushes the door handle and rolls out onto the street. The pursuing car occupants fail to notice his exit. Bullets rip into the robot driver's neck, severing the head from the body. The head hits the window then bounces back onto the front seat. It continues talking. DESK CLERK looks up at him, with interest. His hand hovers over the money. Quail looks at him with distaste but is only anxious to be given the key to his room. He says nothing. Quail is stunned. He says nothing, but doesn't hang up. Quail puts the phone down and rushes to the bathroom. Unscientifically, he prod the screen. Still urinating, the frustrated Scott Stevens can only look back over his shoulder. Laughing, both men open fire, riddling him with bullets. THE LIGHT, and we SEE HANDS REACHING OUT OF THE LIGHT TOWARDS US... that seem to beckon him to <b> SAFETY. </b> ABRUPTLY, the ENTIRE SCREEN GOES RED, BUT IN REVERSE NEGATIVE; with YELLOW LAYOVERS. (So that all the images we see -- ENTIRE FRAME -- are small YELLOW AREAS diffused on a RED BACKGROUND.) It is much like looking at a tableau made out of molten lava. Gradually the room lights BRIGHTEN. The CLOCK CHIMES and begins SPEAKING in a soft, feminine voice. They don't budge. Shortly, the clock CHIMES again. Quail's wife stirs. Maddeningly, the clock CHIMES a third time. Quail reaches out and shuts the clock off. Then he sits up in bed. He swings his legs out from under the covers and sits on the edge of the bed. He puts on his glasses and sits, lost in thought. He is a good-looking but conventional man in his early thirties. He seems rather in awe of his wife, who is attractive and rather off-hand towards him. Kirsten pulls on her robe, lights a cigarette, sits fishing for her slippers. Quail looks at her quizzically. Quail looks crestfallen. She leaves the room. He meditates on what she said, depressed. Drinking his coffee, Quail studies the wall with the air of a man who had his "node stuck in a newspaper," ignoring his wife. The newspaper headline reads: "RIOTING ON MARS OVER WATER <b> TAX." </b> His wife is reading a different article: "Four Women Rape Man in Park." Quail is absorbed in his own paper and doesn't hear her. She gestures toward the TV screen where Martian police are keeping protesters blank section on the panel. Slowly, through the panel, a luminous hand reaches toward Quail's fingers. Gently, the fingers of the two hands touch. The entire control room begins to rumble and shudder. As Quail reaches for Melina, Cohaagen suddenly dives on him. They grapple amid the shuddering Sphinx and can be seen only intermittently as debris crashes around them. The fight ends as Cohaagen is hurled backwards and disappears when a section of floor collapses underneath him. Quail clamps him breathing mask on as he runs. Is this his own death? Where is Melina? The tunnel walls are just like the ones in Quail's original nightmare -- bright reddish-orange, clay and quartz. Quail throws a backward glance fearfully over his shoulder. The EXPLOSIONS are closer. Suddenly -- Up ahead appears a BRILLIANT WHITE LIGHT. Quail sees it, but it only terrifies him more. Is it death he's running to? He hurries on with all his strength, but -- Just as he nears the white light, HE FALLS. On his knees, too weak to move. He struggles -- HANDS ARE REACHING OUT TO HIM, from out of the brilliant light. Quail stretches for them, just as -- A FINAL EXPLOSION blows him forward -- straight into the WHITE LIGHT! The HANDS SEIZE HIM, pull him upward to -- MINER (from Melina's bar) I'd say in about forty years... (he and others help Quail to his feet) ...come on, we've gotta get to the Space Port. That Intergalactic Napoleon's switched off the air. A MINER'S WIFE watches them. She is crying. Quail looks up at the sky. Melina follows his glance. So do the others. Slowly, but perceptibly, the color is changing from yellow to blue. All the miners are puzzled, apprehensive. Quail reaches toward the one who spoke to him before and pulls off his breathing apparatus. At first the man is shocked, then realizes he can breathe without it. Quail takes off his own, then Melina's All the miners watch in amazement. They all remove their breathing masks. Melina embraces him. Melina looks oddly at him, smiling, mysterious. As the sky becomes more and more blue, more of the Miners descend from the bus. Softly at first, then with more and more confidence, they begin singing the Martian National Anthem. The music swells. Quail puts his arm around Melina. They both join in the chorus. It reaches an impassioned crescendo as the FRAME FREEZES and the END CREDITS ROLL UP the screen. | Who killed Lori? | Quaid |
with REKALL's numbers. Scene opens on a CU of McCLANE, a genial, bubbling, enthus- iastic man. McCLANE We're all dreamers, Douglas. But here at Rekall, dreams are our business. He presses a button on his desk and the chairs on which they are seated appear to be in outer space. Countless stars glitter all around. Startlingly, a comet whizzes by. Quail is amazed. McClane grins and presses the button again. The scene changes to a beautiful underwater coral reef. Multi-colored fish swim around the chairs and desk. McCLANE (shaking his head; smiling) We prefer the term "extra- factual implant". Your memory will be complete in every way. You will have gone to Mars. We guarantee that. McCLANE Not when you deal with qualified operators - like us. He presses the button again and the normal office returns. Quail looks around, impressed. McCLANE And look at our follow-up program! He puts items on the desk as he talks. McCLANE (continuing) Space-flight ticket stub... passport... vaccination certificates... matchbooks from Martian Nouvelle Cuisine Restaurants, souvenirs, post cards... even names of people you met - now back there - who you can call and discuss your trip with... by the way, we plant these things where you'll come across them at random in the future. McCLANE (smiling; self- satisfied) But you won't remember me, or having been here. McCLANE Your money back if you do! We've never paid out yet. Quail slumps backs in his chair, overwhelmed. McCLANE (continuing) And we have a special this month, for only two-hundred thousand dollars more. At the press of a button, a list appears on the wall... Quail's eyes linger on "Intelligence Agent." McCLANE (airily) No. No. You're a retired agent. Mars was your last mission in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The last of the passengers board the spacecraft. The chief PLAINCLOTHES MAN nods to an official and the door begins to close. She holds the mask to her face. There is a SIZZLING NOISE, and SMOKE rises from behind the mask. She lowers the mask. Her face is now that of QUAIL. He tears up a passport and drops it down a chute. He reaches inside his dress, starts to REMOVE his "FALSIES." A LITTLE BELL sounds, followed by INTERCOM STATIC. Quail looks up. Quail goes to a viewport and PEERS, transfixed. He is seeing... at last... the object of his obsession. AN IMMENSE ORANGE GLOBE -- so close it looks like it's going to fall on us. It dwarfs the spaceliner. The liner drops toward the surface of Mars. Below: a NETWORK OF INTERSECTING LINES crisscross the planet. A lot of greenery is evident - this is to absorb CO2 and emit oxygen, thus helping with the air supply under the dome. Some small, ragged boys look at QUAIL as he looks around before going inside the hotel. Suddenly, one of them throws a small sack at him. It hits his chest and leaves a yellow stain. The hotel DOORMAN chases the boys away.... The street song has swelled, adult MINERS and CITIZENS joining the belligerent chorus. Quail tips the doorman, enter the hotel. Quail walks past, enters the main lobby. The atrium entryway is absolutely fabulous; a complete contrast to the dirty, Casbah-like streets. AFFLUENT-LOOKING PEOPLE in spotless linen fill the lobby. Quail stops to examine a large ROTATING DISPLAY sitting on a table in the middle of the lobby. It is a stand-up model of a SPHINX. Across the top is written "THE Ronald Shusett and Dan O'Bannon Ronald Shusett and Steven Pressfield SUPERIMPOSE: Presenter credit. PAN DOWN lower and lower until we see the terrain below... the desert. There is no vegetation whatever, just sand and odd-shaped rock formations. The air is filled with red dust, which alternately obscures and then reveals the image. CAMERA MOVES FORWARD optically - enlarging the film grain in the process. ANOTHER ANGLE, and, in the distance, on the horizon of the arid landscape is a huge SPHINX-LIKE STRUCTURE. (It is reminiscent of the Egyptian sphinx, but both body and face, though gargoyle-like, are different in design.) There are some large pyramids not far from the sphinx. CAMERA MOVES optically FORWARD. DISSOLVE. CAMERA is much closer to the sphinx and is directly in front. It moves (combination of zoom and optical printer move) towards the eyes, which appear to be red gems. As CAMERA APPROACHES one of the eyes, it appears to be stained red glass, as in a temple. Suddenly there is a terrific explosion and the glass shatters into millions of fragments which hurtle toward the camera... The surface of the tunnel's "walls" is curious; the walls are, again, bright reddish orange, and a composite of two different substances: rough-textured, clay-like material and red quartz, which glistens like crystal. The man throws a backward glance over his shoulder, fear- fully, as he runs. His HANDS are SPLATTERED with BLOOD. Because of this, the RED GLOW, the air of FEAR to the man, and the GROUND HEAVING and BUCKLING, there is almost a SATANIC suggestion to the scene. Suddenly, up AHEAD of the man, there appears a BRILLIANT WHITE LIGHT. He SEES IT, and runs even faster towards it. We are ALMOST UP TO | What happen to Cohaagen? | He was sucked out to Martian surface. |
in the hallway, All over the hotel, ALARMS begin BLARING. Quail bundles the waiter unceremoniously back inside the elevator. The elevator has reached the basement. They rush out. A solar car whips out in front of them. Quail and Melina leap aboard. Bennie reaches down, grasps a KNOB. He yanks it, like someone starting an outboard motor -- and an ear-splitting LOUD ENGINE roars to life. Bennie opens the throttle and the solar car HURTLES DOWN THE STREET. Quail and Melina are thrown back in the seat. BULLETS from the cruiser rip through the car. At the end of the street, however, Bennie doesn't stop but continues going into a large opening. It is an abandoned mine. The bigger car follows him, but won't fit. The roof is smashed to pieces as the vehicle is wedged into the narrow opening. The second official car pulls up behind. A chauffeur jumps out and opens the rear door. Cohaagen steps out. He sur- veys the scene. The four men in the wrecked car clamber their way backwards out of the wreckage. They are covered in blood and their clothes are in shreds. Cohaagen turns to an associate, EMILE, a youngish, well-dressed executive type. They have now climbed out of the car. Quail looks searchingly at Melina and Bennie. He unzips his jacket to reveal a T-shirt with "MARTIAN LIBERATION FRONT" (and an appropriate symbol) emblazoned on it. They walk as they talk - into a room off the main tunnel. It is adorned with "FREE MARS" and "MARTIAN LIBERATION FRONT" posters. A group of people are printing T-shirts and leaflets. They exchange greetings with Melina and Bennie. He slumps into a chair with frustration. The searchlight approaches doubled over, with some attachments and a tiny METAL HEAD on one end, and some tubes of salve. He turns on the cassette recorder. The VOICE he hears on the cassette TAPE is HIS OWN! Quail makes a face. Holding the wet towel against his neck, Quail slowly withdraws the wire. On the end of it is a tiny, metal bead, the Transmitter. The 1st man quickly check the map-grid in the dashboard. A small bright 'x' is flashing. He carefully - avoiding springing the trap - removes the piece of cheese and pushes the transmitter inside. He then throws the cheese into the rat hole. A CU of the screen shows the small 'x' moving in circles. A large rat scurries out from behind overfull garbage bins. Furious, they fire. The bullets rip the bins to shreds, scattering refuse everywhere. The rat is killed. They all stare in disbelief. PAN to OTHER MONITORS, all depicting Quail in other action scenes -- on some kind of mission, driving a car, etc. TECHNICIANS man the monitors, scrolling through them in fast-forward and fast reverse as if searching files. The technicians turn as Cohaagen and his aides enter. The red-haired E.I.O. man joins them. The red-headed man nods. He looks at the video screen again. An image has flashed onto it of an attractive Eurasian girl. He studies the picture, which changes to show the same girl from different angles. The passengers are a diverse group - businessmen, officials, government people, etc. There is also a large tour group consisting of a predominately middle-aged and determinedly jolly crowd, many of them carrying duty-free bags. They are being marshaled by an harassed TOUR ORGANIZER, who is carrying aloft a hand-painted sign... "MARTIAN TOUR GROUP". The blank section on the panel. Slowly, through the panel, a luminous hand reaches toward Quail's fingers. Gently, the fingers of the two hands touch. The entire control room begins to rumble and shudder. As Quail reaches for Melina, Cohaagen suddenly dives on him. They grapple amid the shuddering Sphinx and can be seen only intermittently as debris crashes around them. The fight ends as Cohaagen is hurled backwards and disappears when a section of floor collapses underneath him. Quail clamps him breathing mask on as he runs. Is this his own death? Where is Melina? The tunnel walls are just like the ones in Quail's original nightmare -- bright reddish-orange, clay and quartz. Quail throws a backward glance fearfully over his shoulder. The EXPLOSIONS are closer. Suddenly -- Up ahead appears a BRILLIANT WHITE LIGHT. Quail sees it, but it only terrifies him more. Is it death he's running to? He hurries on with all his strength, but -- Just as he nears the white light, HE FALLS. On his knees, too weak to move. He struggles -- HANDS ARE REACHING OUT TO HIM, from out of the brilliant light. Quail stretches for them, just as -- A FINAL EXPLOSION blows him forward -- straight into the WHITE LIGHT! The HANDS SEIZE HIM, pull him upward to -- MINER (from Melina's bar) I'd say in about forty years... (he and others help Quail to his feet) ...come on, we've gotta get to the Space Port. That Intergalactic Napoleon's switched off the air. A MINER'S WIFE watches them. She is crying. Quail looks up at the sky. Melina follows his glance. So do the others. Slowly, but perceptibly, the color is changing from yellow to blue. All the miners are puzzled, apprehensive. Quail reaches toward the one who spoke to him before and pulls off his breathing apparatus. At first the man is shocked, then realizes he can breathe without it. Quail takes off his own, then Melina's All the miners watch in amazement. They all remove their breathing masks. Melina embraces him. Melina looks oddly at him, smiling, mysterious. As the sky becomes more and more blue, more of the Miners descend from the bus. Softly at first, then with more and more confidence, they begin singing the Martian National Anthem. The music swells. Quail puts his arm around Melina. They both join in the chorus. It reaches an impassioned crescendo as the FRAME FREEZES and the END CREDITS ROLL UP the screen. THE LIGHT, and we SEE HANDS REACHING OUT OF THE LIGHT TOWARDS US... that seem to beckon him to <b> SAFETY. </b> ABRUPTLY, the ENTIRE SCREEN GOES RED, BUT IN REVERSE NEGATIVE; with YELLOW LAYOVERS. (So that all the images we see -- ENTIRE FRAME -- are small YELLOW AREAS diffused on a RED BACKGROUND.) It is much like looking at a tableau made out of molten lava. Gradually the room lights BRIGHTEN. The CLOCK CHIMES and begins SPEAKING in a soft, feminine voice. They don't budge. Shortly, the clock CHIMES again. Quail's wife stirs. Maddeningly, the clock CHIMES a third time. Quail reaches out and shuts the clock off. Then he sits up in bed. He swings his legs out from under the covers and sits on the edge of the bed. He puts on his glasses and sits, lost in thought. He is a good-looking but conventional man in his early thirties. He seems rather in awe of his wife, who is attractive and rather off-hand towards him. Kirsten pulls on her robe, lights a cigarette, sits fishing for her slippers. Quail looks at her quizzically. Quail looks crestfallen. She leaves the room. He meditates on what she said, depressed. Drinking his coffee, Quail studies the wall with the air of a man who had his "node stuck in a newspaper," ignoring his wife. The newspaper headline reads: "RIOTING ON MARS OVER WATER <b> TAX." </b> His wife is reading a different article: "Four Women Rape Man in Park." Quail is absorbed in his own paper and doesn't hear her. She gestures toward the TV screen where Martian police are keeping protesters on, stare out as Bennie claws desperately at his severed air line. The Martian vacuum pulls the oxygen from Bennie's lungs, he chokes, staggers -- A driver in one of the patrol vehicles (filmed from outside the windscreen) is speaking into a microphone. He can't be heard but can only be radioing a report. Quail mans the controls while Melina struggles to shore up the gaping hole in the side, into which SAND is POURING as the mole moves forward. Quail looks at a compass in the control panel. He makes a correction. Sand pours over him from bullet holes resulting from the encounter with patrol cars. CU speedometer: 22 MPH. Every other gauge is overheating, flashing WARNING LIGHTS -- On some of the video screens a number of space shuttles can be seen, ready for departure to Earth. There's a lighted area at the end of the tunnel. Quail and Melina hurry toward it, moving silently, close to the wall. Quail and Melina are forty feet below the upper end of the main downshaft. They can look up the shaft and see the first interior level of the Sphinx itself. He's right at home -- and full of confidence. Quail climbs onto the ladder, which links various top levels. He starts to climb. Melina follows him. They are tiny figures. The space around them plummets down to infinity. Seven of the Guards move off, two remain in position. We HEAR the FOOTSTEPS of the seven guards recede. The two remaining guards realize their isolation; they glance tensely to one another. The First Guard points to the edge of the main shaft -- right where Quail and Melina are hiding. The Guards cock their weapons, start cautiously | What did Quaid did to Melina? | Quaid kissed Melina. |
right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. suddenly pushed into the lake. Jason splashes to the surface, sputtering, trying to stay afloat. A hand pushes his head back under the water. JASON'S UNDERWATER P.O.V. -- a distorted image of whoever is holding him under. Jason thrusts out his arms, fighting to get back to the surface... fighting just to see who is killing him before he dies. Meagan and Stormie bounce, excitedly. But something is wrong. Jason thrashes around on the dock, unable to break the crisscross of high voltage chicken wire. But all Erwin can do is scratch his head. Meagan rushes to the shore line and screams out over the lake: Jason clenches his meaty fists and SLAMS them down against the diving dock. SMASHING it to bits. Water rushes over him and -- ZZZZT! KA-POW! A power transformer on shore EXPLODES, causing Meagan and her friends to cringe. When they look back, the electrical light show fades away, leaving nothing but smoke and floating debris. Meagan and Stormie turn to Erwin, who shrugs shyly and says: Meagan and Stormie begin a verbal barrage that would shrink any man to pus... much less Erwin. He cowers between them, offering quick excuses and humble apologies. All three are so wrapped up in laying blame that they never notice Jason's shadowy figure as it rises from the lake. Then they do see him... scream and run. Jason charges after the kids in his familiar "unstoppable killer" gait. Erwin ducks inside the tool shed as Meagan and Stormie dash past. He closes the door behind him and squirms out a tiny window just as Jason kicks open the door and steps inside. Erwin races around to the front and closes the door. He fastens the latch flies open and the guard leaps inside like Marshall Dillon, snapping on the lights. He gasps, eyes going wide as he scans the room. One of the drawers is open... the stiff's chest has got a huge hole in it... blood spattered everywhere... a bunch of bloody footprints leading over to the cabinet... Suddenly, the guard sees Meagan half out the window and cries: Meagan rolls out of the window just as the guard FIRES. The unbroken section of the window SHATTERS. The guard curses and races for the... The ol' coot shines his light down into Jason's empty grave. The S.W.A.T. commander comes up to Murdoch. Erwin finishes sewing up Jason and climbs back onto the pier, cutting the diving platform free. He kicks it off and it floats out into the lake, drifting free. Then Erwin herds the girls down the shore, leading them over to where a short trench has been dug leading from the water's edge. In the bottom of the trench -- an uncovered power cable. Erwin picks up a nearby bucket of water and sets it at the head of the trench. Erwin kicks the bucket over. The water washes down the trench, over the cable, and -- POW! Z-Z-Z-ZAP! A huge SPARK HITS EXPLODES. Then the lake begins to glow and the water begins to churn. Erwin and the girls jump back as ELECTRICITY ARCS from the lake, engulfing the diving platform. The ARCS of ELECTRICITY leap from the chicken wire onto Jason's body, his massive frame convulsing. CLOSE ON HOCKEY MASK as we PUSH IN -- the electricity spirals down into the eye hole like water running down a drain. CLOSE ON JASON'S EYE as it opens! We dive into the eye and take a bed and grabs Jesse, pulling him down into the mattress. Meagan wakes and sees this, screaming as Jesse grabs onto the curtain. CLOSE ON CURTAIN ROD as the curtain pulls free of the rings. Jesse disappears into the bed, his screams echoing away. Meagan looks under the bed -- nothing. She rises up again, watching as Jesse's iv and electrode wires are pulled down after him. Meagan grabs a handful of tubes and wire and tries to pull Jesse back. But the pull is too strong and Meagan goes into the mattress. Meagan calls to him from the saloon door. But Jesse can't hear her. He's too busy shaking with fear... staring at something coming down the street. It's Freddy. Dressed in a Black Bart cowboy outfit. Trembling with fear, Jesse fumbles for his pistol. He pulls it out and FIRES. Freddy laughs. Jesse FIRES again. Freddy just laughs. Jesse FIRES again and again and again and Freddy just laughs and laughs and laughs. From the saloon, Meagan screams: Freddy looks over at her, annoyed. A NURSE shows up to answer the alarm. She sees Meagan standing over Jesse's body, covered in blood, and screams. Stormie enters the room a half-second later and gasps. Stormie reaches in and grabs Meagan, pulling her out of the room. Just then, Stormie spots Murdoch and his men getting off the elevator. They hear the nurse's screams and come running towards Jesse's room. Stormie pulls Meagan behind the nurse's station just as Murdoch and company go thundering past. Then a VOICE on the P.A. says: Stormie and Meagan exchange worrisome looks. The announcement repeats itself again. Then again. Stormie can't stand it anymore -- she stands up and picks | Who kills Blake? | Jason |
a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his fantastic dream/time travel to... JASON'S FATHER comes to the doorway of their run- down cabin in dirty longjohns, holding a bottle of rye. He bellows: Jason jumps at his father's voice, hesitates only slightly, then runs toward him, stopping abruptly several paces away. Jason stands, looking at his bare feet. His father smacks him upside the head, shoving him towards the woodshed. Jason's pace slows as he enters the dark shed -- he knows what's coming next. Jason slowly complies as his father loosens his belt. Suddenly, JASON'S MOTHER is just outside the doorway, calling: Jason gives his father a sideways glance, then scurries towards his mother. Jason's mother gives him a mason jar stuffed with dollars and change. Jason holds his ground for a second, unsure whom to obey, when his mother shoos him away. Jason takes off up the road. His father sneers: Jason's mother pulls a knife from her apron. Jason's mother charges at her husband, shoving him back into the shed with the knife. Jason looks back. Through the open window he sees his mother's arm coming down repeatedly with the knife, his father's arms flailing helplessly. Then both disappear from view. After a moment his mother appears in the door- way, spattered with blood. She smiles and waves to him, calling: Jason turns and runs to... In the office, the HEAD COUNSELOR takes his money and shakes his hand. Jason sits at the end of the pier, looking at his own reflection. He removes the mask and watches as the distortions in the water make his face look normal. Someone comes up behind Jason slowly. Jason isn't aware of their presence until a shadowy reflection appears behind his own. Jason turns to see who when he is taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, the drawings -- childlike renderings of Freddy. Meagan slowly gets to her knees and takes a peek under Lizzy's bed. Suddenly, a doll-sized Freddy scurries out from under the bed, flashing past Meagan's face and running out the door. Meagan yelps and touches her face -- five tiny slash marks on her cheek. Lizzy clucks. Meagan looks out the door, incredulous. But when Meagan looks back, Lizzy is gone. Lizzy echoes away as Meagan finds herself standing in the... The casket starts to move -- THUMP! THUMP! THUMP! Then it stops. Tentatively, Meagan opens the lid again. Inside -- FREDDY KRUEGER. He grabs her arm. Meagan screams. Freddy leaps out of the casket in a tuxedo, crooning: Meagan looks down -- she's wearing a wedding dress, spattered with blood. Behind her, the chapel has filled with dozens of DEAD PEOPLE in various stages of decay. A SATANIC PRIEST appears in the pulpit and asks: Meagan looks to her left -- four girls hold bouquets, dressed in body bags. Freddy opens his tuxedo jacket to reveal several trapped souls struggling to get out of his chest. Meagan turns. It's her boyfriend -- JESSE. He stands in the chapel doorway, backlit by bright light, arms outstretched. Meagan runs to Jesse and grabs him, their arms encircling one another. She looks up into Jesse's eyes... only it isn't Jesse. It's Jason. Meagan screams as Jason raises his machete, bringing it down between her eyes... Suddenly, the doll opens it's eyes and sneers: The Freddy doll flashes it's tiny glove of knives, thrusting them deep into Meagan's chest. Meagan sits up suddenly in bed, clutching her chest. She looks down and sees that there is nothing there. Meagan sighs and falls back in her | Jason emerges with who's severed head? | Freddy's |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And open in the middle like a giant gate. The two halves swing open wide to reveal... The cultists carry Lizzy across the rocky ledge to the mausoleum. The outside of this ancient structure is engraved with weird murals depicting the evils of mankind. In the center -- a large iron gate that swings open as the cultists near. The cultists roll Lizzy over in their arms, holding her tight as they push her face forward into the mirror. The glass gives way like mercury, Lizzy's face disappearing into the mirror. ANGLE ON THE OTHER SIDE (UNDERWATER) -- Lizzy's face stares out into utter blackness. Then, some- thing large and evil looking swims up out of the darkness. Clawed hands reach out and grab Lizzy by the sides of the face as the huge, monstrous head moves forward -- evil lips parting -- tongue slithering out. The evil thing gives Lizzy a big, wet French kiss, locking it's lips over hers. Several slippery some- things slither into her mouth. Lizzy struggles, but the big evil thing is way too strong. Finally, it releases her and the cultists pull her back out. The cultists carry Lizzy out of Hell and back into the... Three evil-looking eels slither forth from Lizzy's mouth -- the Dream Demons. Meagan spots Lizzy's shirt sleeve on the floor. Erwin goes to a boiler, bends down and reaches way up underneath. After fishing around for a moment, he draws out a well-worn Mutant Ninja Turtles lunch box. Inside -- a vile of liquid, several syringes, and several pairs of cult shades. Meagan thinks about this for a moment, then nods her approval. Jesse jerks a thumb toward Erwin. Erwin hands Jesse an old rusty revolver. Erwin hands up, when her skirt blows up. She presses it down but the WIND is too great and the skirt billows up, revealing her underwear. The class roars with laughter. But Meagan isn't reading her report anymore, she's busy trying to push down her skirt when -- RIP! -- the WIND blows her skirt off. Her classmates fall over themselves, laughing. RIP! -- Meagan's blouse blows away. She tries to hide behind the podium when that too is swept off. Meagan clutches at her bra and panties as they start to drift away -- thread by thread. She is almost naked. Meagan looks up at her classmates, red in the face. Her classmates point and laugh -- only now they are all a bunch of old rotten skeletons. And up front, in the center where Miss Krepps sat... is Freddy! He wears a beanie with a propeller, points and laughs: Meagan screams, clutching at the last few tiny strands of cloth that cover her body. She calls to Jesse, pleading: But Jesse just sits at his desk -- dead. He reaches up and slowly lowers a hockey mask over his pale, expressionless face. Freddy pulls out an over-sized camera with a gargantuan flashgun attached. The flash bulb is the size of a beach ball and has a nuclear warning etched in the front. Freddy sizes Meagan up in the viewfinder and sneers: PHOOMPH!!! -- the flash bulb goes off with an atomic light. Meagan screams as her skeleton is blown back against the blackboard -- vaporized! Meagan looks around, bewildered and confused. Meagan realizes that she was dreaming and pulls herself together. Meagan stands up and faints. Meagan is laying on a couch, a cloth over her head. | While at the rave who does Gibb thinks she sees? | Trey |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And suddenly pushed into the lake. Jason splashes to the surface, sputtering, trying to stay afloat. A hand pushes his head back under the water. JASON'S UNDERWATER P.O.V. -- a distorted image of whoever is holding him under. Jason thrusts out his arms, fighting to get back to the surface... fighting just to see who is killing him before he dies. Meagan and Stormie bounce, excitedly. But something is wrong. Jason thrashes around on the dock, unable to break the crisscross of high voltage chicken wire. But all Erwin can do is scratch his head. Meagan rushes to the shore line and screams out over the lake: Jason clenches his meaty fists and SLAMS them down against the diving dock. SMASHING it to bits. Water rushes over him and -- ZZZZT! KA-POW! A power transformer on shore EXPLODES, causing Meagan and her friends to cringe. When they look back, the electrical light show fades away, leaving nothing but smoke and floating debris. Meagan and Stormie turn to Erwin, who shrugs shyly and says: Meagan and Stormie begin a verbal barrage that would shrink any man to pus... much less Erwin. He cowers between them, offering quick excuses and humble apologies. All three are so wrapped up in laying blame that they never notice Jason's shadowy figure as it rises from the lake. Then they do see him... scream and run. Jason charges after the kids in his familiar "unstoppable killer" gait. Erwin ducks inside the tool shed as Meagan and Stormie dash past. He closes the door behind him and squirms out a tiny window just as Jason kicks open the door and steps inside. Erwin races around to the front and closes the door. He fastens the latch taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. pull out, one of them notices something moving amidst the flames -- a large BURNING form, walking towards the lake. As it stumbles out onto the pier, the cop turns to his partner and says: But just then, the form falls through the BURNING pier, SPLASHING into the water below. The partner looks, sees nothing, and shrugs. He shrugs it off and exits after his partner. Murdoch, his hat still smoking a little, surveys the sight one last time before climbing into his patrol car and driving away. Both girls stand in their cells next to eachother, watching as the deputy goes back to her desk and begins to devour three combo-burritos. Meagan leans up against the wall, sliding down to the floor in defeat. Stormie plops down on her cot. Just then, Deputy Miller steps in front of Meagan's cell, unlocking it. Meagan stands handcuffed, her hair mussed, her clothes bloody and soiled. The shadow moves down the cellblock, accompanied by a slight SCRAPING. Freddy's glove materializes, raking the knives along the metal cross bars. Freddy stops at Stormie's cell, looking inside. Stormie is fast asleep. Freddy walks into Stormie's cell, passing right through the bars. Suddenly, Stormie wakes and, seeing Freddy, jumps to her feet and screams. But the deputy at the end of the cellblock doesn't respond, finishing off the rest of the burrito and licking her meaty fingers clean. Freddy puts his forefinger knife to his lips and shushes Stormie, pointing to her cot. Stormie looks over and sees her- self asleep. She looks up at Freddy, who smiles and says: Freddy flashes the glove of knives. Freddy swings the glove but Stormie ducks, keeping her defensive stance. Freddy juts out his chin, gesturing for Stormie to take a | Who killed Lori's mother? | Freddy |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And of the bag. Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, | Who pulls Freddy into real life? | Lori |
a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. driver turns to the attendant and says: The driver gets out and goes to the form laying in the road. He bends down to examine the charred, mammoth carcass when a fist flies up, smacking the driver in the face. He falls to the ground, unconscious. The corpse sits up in the glare from the headlights -- it's Jason! Burnt and blackened but ready for action! He starts towards the ambulance. The attendant gets out and pulls his service revolver, emptying into Jason's chest. Jason recoils only slightly as BULLET HITS BURST his coveralls, then he grabs the attendant by the head as he snaps the empty pistol in panic. Jason slams the attendant's face into the side of the ambulance. In the back of the ambulance, a terror-stricken Erwin watches as a face shaped dent appears in the wall with a sickening WRENCHING of METAL and FLESH. Then... silence. RIP! -- Jason pulls off the back door of the ambulance and climbs inside, the shocks bottoming out under his weight. He reaches out for Erwin, who closes his eyes... waiting for the inevitable. Then... nothing. After a second, Erwin opens an eye. Jason is standing over him, hand outstretched. In his big, burnt palm -- Meagan's necklace. Erwin looks from the necklace to Jason. Jason thrusts out his hand impatiently. Again with the thrusting. Jason shakes his palm at Erwin yet a third time. Jason reaches over and yanks out the gurney straps. Erwin exits out the back with Jason following close behind. Erwin climbs in behind the wheel, saying: Jason pushes Erwin aside so roughly that he slams into the passenger side door. As Jason climbs into the driver's seat, a CHIME goes off as a | Who's arm gets torn off? | Freddy's arm |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And bed and grabs Jesse, pulling him down into the mattress. Meagan wakes and sees this, screaming as Jesse grabs onto the curtain. CLOSE ON CURTAIN ROD as the curtain pulls free of the rings. Jesse disappears into the bed, his screams echoing away. Meagan looks under the bed -- nothing. She rises up again, watching as Jesse's iv and electrode wires are pulled down after him. Meagan grabs a handful of tubes and wire and tries to pull Jesse back. But the pull is too strong and Meagan goes into the mattress. Meagan calls to him from the saloon door. But Jesse can't hear her. He's too busy shaking with fear... staring at something coming down the street. It's Freddy. Dressed in a Black Bart cowboy outfit. Trembling with fear, Jesse fumbles for his pistol. He pulls it out and FIRES. Freddy laughs. Jesse FIRES again. Freddy just laughs. Jesse FIRES again and again and again and Freddy just laughs and laughs and laughs. From the saloon, Meagan screams: Freddy looks over at her, annoyed. A NURSE shows up to answer the alarm. She sees Meagan standing over Jesse's body, covered in blood, and screams. Stormie enters the room a half-second later and gasps. Stormie reaches in and grabs Meagan, pulling her out of the room. Just then, Stormie spots Murdoch and his men getting off the elevator. They hear the nurse's screams and come running towards Jesse's room. Stormie pulls Meagan behind the nurse's station just as Murdoch and company go thundering past. Then a VOICE on the P.A. says: Stormie and Meagan exchange worrisome looks. The announcement repeats itself again. Then again. Stormie can't stand it anymore -- she stands up and picks open in the middle like a giant gate. The two halves swing open wide to reveal... The cultists carry Lizzy across the rocky ledge to the mausoleum. The outside of this ancient structure is engraved with weird murals depicting the evils of mankind. In the center -- a large iron gate that swings open as the cultists near. The cultists roll Lizzy over in their arms, holding her tight as they push her face forward into the mirror. The glass gives way like mercury, Lizzy's face disappearing into the mirror. ANGLE ON THE OTHER SIDE (UNDERWATER) -- Lizzy's face stares out into utter blackness. Then, some- thing large and evil looking swims up out of the darkness. Clawed hands reach out and grab Lizzy by the sides of the face as the huge, monstrous head moves forward -- evil lips parting -- tongue slithering out. The evil thing gives Lizzy a big, wet French kiss, locking it's lips over hers. Several slippery some- things slither into her mouth. Lizzy struggles, but the big evil thing is way too strong. Finally, it releases her and the cultists pull her back out. The cultists carry Lizzy out of Hell and back into the... Three evil-looking eels slither forth from Lizzy's mouth -- the Dream Demons. Meagan spots Lizzy's shirt sleeve on the floor. Erwin goes to a boiler, bends down and reaches way up underneath. After fishing around for a moment, he draws out a well-worn Mutant Ninja Turtles lunch box. Inside -- a vile of liquid, several syringes, and several pairs of cult shades. Meagan thinks about this for a moment, then nods her approval. Jesse jerks a thumb toward Erwin. Erwin hands Jesse an old rusty revolver. Erwin hands with a lifeless THUD. The little dog starts BARKING ferociously when another SHOT silences her as well. Another cultist leaps out of the hearse and runs to the gate, cutting the chain with a pair of bolt cutters. He swings the gate open and the funeral procession proceeds inside. Lizzy is brought forward, held by a couple cultists, and injected with dream dope as the needle is passed around. She no longer struggles, accepting her fate with droopy eyes. LIZZY'S DREAM DOPE P.O.V. -- as she watches one of the cultists reach down and put a rusty funnel into Freddy's broken jawbone. Her vision gets blurry... more surreal as another cult member steps forward with the tupperware. He pours the dream demons into the funnel. CLOSE ON FREDDY'S REMAINS as the dream demons swim around inside his skull. His bones start to bleed... blood becoming arteries and veins... vessels becoming muscle... muscle growing scarred flesh... There is a FLASH from the pit. Then suddenly, Freddy Krueger -- as you've known him, as you've loved him -- leaps out of the pit and cries: Lizzy rolls her eyes up and faints. The cultists FIRE their weapons into the air and cheer as the building-high stacks of wrecked cars surrounding them HONK their HORNS and FLASH their LIGHTS. Jesse HONKS the horn and yells: Suddenly, a CRAZY OL' COOT appears on the opposite side with a shotgun. Everyone in the car jumps. The old man gives the occupants of the car a going over with his one good eye, hesitating a moment over Erwin, who scrunches down in the back seat, hiding under a baseball cap. Everyone in the car takes a sharp breath -- cold busted! Then they start saying "No! | What to Lori and Will ignite? | Propane tanks |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, the drawings -- childlike renderings of Freddy. Meagan slowly gets to her knees and takes a peek under Lizzy's bed. Suddenly, a doll-sized Freddy scurries out from under the bed, flashing past Meagan's face and running out the door. Meagan yelps and touches her face -- five tiny slash marks on her cheek. Lizzy clucks. Meagan looks out the door, incredulous. But when Meagan looks back, Lizzy is gone. Lizzy echoes away as Meagan finds herself standing in the... The casket starts to move -- THUMP! THUMP! THUMP! Then it stops. Tentatively, Meagan opens the lid again. Inside -- FREDDY KRUEGER. He grabs her arm. Meagan screams. Freddy leaps out of the casket in a tuxedo, crooning: Meagan looks down -- she's wearing a wedding dress, spattered with blood. Behind her, the chapel has filled with dozens of DEAD PEOPLE in various stages of decay. A SATANIC PRIEST appears in the pulpit and asks: Meagan looks to her left -- four girls hold bouquets, dressed in body bags. Freddy opens his tuxedo jacket to reveal several trapped souls struggling to get out of his chest. Meagan turns. It's her boyfriend -- JESSE. He stands in the chapel doorway, backlit by bright light, arms outstretched. Meagan runs to Jesse and grabs him, their arms encircling one another. She looks up into Jesse's eyes... only it isn't Jesse. It's Jason. Meagan screams as Jason raises his machete, bringing it down between her eyes... Suddenly, the doll opens it's eyes and sneers: The Freddy doll flashes it's tiny glove of knives, thrusting them deep into Meagan's chest. Meagan sits up suddenly in bed, clutching her chest. She looks down and sees that there is nothing there. Meagan sighs and falls back in her | Who decapitates Freddy? | Lori |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. the drawings -- childlike renderings of Freddy. Meagan slowly gets to her knees and takes a peek under Lizzy's bed. Suddenly, a doll-sized Freddy scurries out from under the bed, flashing past Meagan's face and running out the door. Meagan yelps and touches her face -- five tiny slash marks on her cheek. Lizzy clucks. Meagan looks out the door, incredulous. But when Meagan looks back, Lizzy is gone. Lizzy echoes away as Meagan finds herself standing in the... The casket starts to move -- THUMP! THUMP! THUMP! Then it stops. Tentatively, Meagan opens the lid again. Inside -- FREDDY KRUEGER. He grabs her arm. Meagan screams. Freddy leaps out of the casket in a tuxedo, crooning: Meagan looks down -- she's wearing a wedding dress, spattered with blood. Behind her, the chapel has filled with dozens of DEAD PEOPLE in various stages of decay. A SATANIC PRIEST appears in the pulpit and asks: Meagan looks to her left -- four girls hold bouquets, dressed in body bags. Freddy opens his tuxedo jacket to reveal several trapped souls struggling to get out of his chest. Meagan turns. It's her boyfriend -- JESSE. He stands in the chapel doorway, backlit by bright light, arms outstretched. Meagan runs to Jesse and grabs him, their arms encircling one another. She looks up into Jesse's eyes... only it isn't Jesse. It's Jason. Meagan screams as Jason raises his machete, bringing it down between her eyes... Suddenly, the doll opens it's eyes and sneers: The Freddy doll flashes it's tiny glove of knives, thrusting them deep into Meagan's chest. Meagan sits up suddenly in bed, clutching her chest. She looks down and sees that there is nothing there. Meagan sighs and falls back in her with a lifeless THUD. The little dog starts BARKING ferociously when another SHOT silences her as well. Another cultist leaps out of the hearse and runs to the gate, cutting the chain with a pair of bolt cutters. He swings the gate open and the funeral procession proceeds inside. Lizzy is brought forward, held by a couple cultists, and injected with dream dope as the needle is passed around. She no longer struggles, accepting her fate with droopy eyes. LIZZY'S DREAM DOPE P.O.V. -- as she watches one of the cultists reach down and put a rusty funnel into Freddy's broken jawbone. Her vision gets blurry... more surreal as another cult member steps forward with the tupperware. He pours the dream demons into the funnel. CLOSE ON FREDDY'S REMAINS as the dream demons swim around inside his skull. His bones start to bleed... blood becoming arteries and veins... vessels becoming muscle... muscle growing scarred flesh... There is a FLASH from the pit. Then suddenly, Freddy Krueger -- as you've known him, as you've loved him -- leaps out of the pit and cries: Lizzy rolls her eyes up and faints. The cultists FIRE their weapons into the air and cheer as the building-high stacks of wrecked cars surrounding them HONK their HORNS and FLASH their LIGHTS. Jesse HONKS the horn and yells: Suddenly, a CRAZY OL' COOT appears on the opposite side with a shotgun. Everyone in the car jumps. The old man gives the occupants of the car a going over with his one good eye, hesitating a moment over Erwin, who scrunches down in the back seat, hiding under a baseball cap. Everyone in the car takes a sharp breath -- cold busted! Then they start saying "No! | What is the drug hypnocil used for? | To suppress dreams |
Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. with a lifeless THUD. The little dog starts BARKING ferociously when another SHOT silences her as well. Another cultist leaps out of the hearse and runs to the gate, cutting the chain with a pair of bolt cutters. He swings the gate open and the funeral procession proceeds inside. Lizzy is brought forward, held by a couple cultists, and injected with dream dope as the needle is passed around. She no longer struggles, accepting her fate with droopy eyes. LIZZY'S DREAM DOPE P.O.V. -- as she watches one of the cultists reach down and put a rusty funnel into Freddy's broken jawbone. Her vision gets blurry... more surreal as another cult member steps forward with the tupperware. He pours the dream demons into the funnel. CLOSE ON FREDDY'S REMAINS as the dream demons swim around inside his skull. His bones start to bleed... blood becoming arteries and veins... vessels becoming muscle... muscle growing scarred flesh... There is a FLASH from the pit. Then suddenly, Freddy Krueger -- as you've known him, as you've loved him -- leaps out of the pit and cries: Lizzy rolls her eyes up and faints. The cultists FIRE their weapons into the air and cheer as the building-high stacks of wrecked cars surrounding them HONK their HORNS and FLASH their LIGHTS. Jesse HONKS the horn and yells: Suddenly, a CRAZY OL' COOT appears on the opposite side with a shotgun. Everyone in the car jumps. The old man gives the occupants of the car a going over with his one good eye, hesitating a moment over Erwin, who scrunches down in the back seat, hiding under a baseball cap. Everyone in the car takes a sharp breath -- cold busted! Then they start saying "No! the drawings, his jaw muscles tightening. He clenches his fist, pulverizing the little unicorn. Murdoch drops the broken pieces of the unicorn on the table as he exits the room, brushing past Meagan. Murdoch and his men say "good-bye" and quickly exit. They exit to Jesse's car. Jason cleaves Murdoch's head with a machete. Murdoch staggers back, raising his pistol. Murdoch FIRES, the bullet SMACKING Jason in the eye. Thick blood runs down the hockey mask as Murdoch's body hits the ground. In a series of quick cuts we move in close on Murdoch's eyes -- dark and menacing -- staring out at us. Jesse grudgingly agrees. Meagan kisses Jesse on the cheek. Stormie sticks her tongue out at him, then turns as she and Meagan walk toward the main entrance. The guard exits. Meagan and Stormie peer through the thick window -- Erwin's padded cell appears vacant. They exchange anxious looks, then Meagan presses a little closer to the glass. SPLAT! -- ERWIN suddenly presses his horribly burned face to the glass as he screams: Erwin flops the arms of his straight jacket, gesturing to the inside of his cell -- empty except for a small mattress. There is a moment as the girls take this in, then: Erwin thinks about this for a second, then: Meagan and Stormie exchange looks. Stormie grabs Meagan by the arm and starts to pull her away. But Meagan stays put and asks Erwin: Erwin presses his palm against the glass. Meagan thinks a moment, then puts her hand against the glass over his. Jesse sighs and steps into the phone booth. After a moment's hesitation, Jesse steps out and immediately both girls blurt out ten reasons why he should make the call. Jesse calls bed and grabs Jesse, pulling him down into the mattress. Meagan wakes and sees this, screaming as Jesse grabs onto the curtain. CLOSE ON CURTAIN ROD as the curtain pulls free of the rings. Jesse disappears into the bed, his screams echoing away. Meagan looks under the bed -- nothing. She rises up again, watching as Jesse's iv and electrode wires are pulled down after him. Meagan grabs a handful of tubes and wire and tries to pull Jesse back. But the pull is too strong and Meagan goes into the mattress. Meagan calls to him from the saloon door. But Jesse can't hear her. He's too busy shaking with fear... staring at something coming down the street. It's Freddy. Dressed in a Black Bart cowboy outfit. Trembling with fear, Jesse fumbles for his pistol. He pulls it out and FIRES. Freddy laughs. Jesse FIRES again. Freddy just laughs. Jesse FIRES again and again and again and Freddy just laughs and laughs and laughs. From the saloon, Meagan screams: Freddy looks over at her, annoyed. A NURSE shows up to answer the alarm. She sees Meagan standing over Jesse's body, covered in blood, and screams. Stormie enters the room a half-second later and gasps. Stormie reaches in and grabs Meagan, pulling her out of the room. Just then, Stormie spots Murdoch and his men getting off the elevator. They hear the nurse's screams and come running towards Jesse's room. Stormie pulls Meagan behind the nurse's station just as Murdoch and company go thundering past. Then a VOICE on the P.A. says: Stormie and Meagan exchange worrisome looks. The announcement repeats itself again. Then again. Stormie can't stand it anymore -- she stands up and picks | Who is the first of Lori's friends to be killed? | Trey |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at of the bag. Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his back seat, Erwin is nuzzled between Stormie's breasts, sucking his thumb. Both are fast asleep. Jesse stares at the road ahead, his own eyelids drooping. The car starts to weave. ANGLE OUT WINDSHIELD -- we flash past Freddy holding a cardboard sign by the side of the road: WILL KILL <b> FOR FOOD. </b> Jesse shakes his head -- nah! He tries to concentrate on the road, his eyelids falling once more. Jesse's car zooms past a billboard. Behind the bill- board -- a highway patrol car, a radar gun sticking out of the driver's window. CLOSE ON RADAR GUN as Jesse's car passes in the back- ground, the red digits cascading up. Freddy, now dressed as a highway patrolman, sits behind the wheel. The radar gun's display is reflected in his mirrored shades. It reads: KILL THEM. Freddy starts the car and pulls out, but what comes out from behind the billboard isn't a patrol car -- it's Freddy's NIGHTMAREMOBILE -- big chrome pipes belching HELLFIRE. ANGLE IN JESSE'S REARVIEW MIRROR as Jesse's eyelids close and his head nods forward, revealing the night- maremobile closing from behind fast. The nightmaremobile runs up to the back of Jesse's car just an inch from the bumper. Freddy moves one of the dozen of levers on the dash. CLOSE ON FREDDY'S HOOD ORNAMENT -- a small version of Freddy's glove. It extends out towards the back of Jesse's car, one of the tiny knives inserting into the trunk lock and turning with a slight CLICK. The trunk lid opens. ANGLE INSIDE TRUNK -- the plastic bags with Jason's remains are moving! Freddy works another level and the tiny glove slits each bag. The various pieces of Jason (hands, boots, intestines, etc.) crawl out taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. | Why does Freddy Krueger need Jason Voorhees to kill? | To gain strength |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at of the bag. Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And open in the middle like a giant gate. The two halves swing open wide to reveal... The cultists carry Lizzy across the rocky ledge to the mausoleum. The outside of this ancient structure is engraved with weird murals depicting the evils of mankind. In the center -- a large iron gate that swings open as the cultists near. The cultists roll Lizzy over in their arms, holding her tight as they push her face forward into the mirror. The glass gives way like mercury, Lizzy's face disappearing into the mirror. ANGLE ON THE OTHER SIDE (UNDERWATER) -- Lizzy's face stares out into utter blackness. Then, some- thing large and evil looking swims up out of the darkness. Clawed hands reach out and grab Lizzy by the sides of the face as the huge, monstrous head moves forward -- evil lips parting -- tongue slithering out. The evil thing gives Lizzy a big, wet French kiss, locking it's lips over hers. Several slippery some- things slither into her mouth. Lizzy struggles, but the big evil thing is way too strong. Finally, it releases her and the cultists pull her back out. The cultists carry Lizzy out of Hell and back into the... Three evil-looking eels slither forth from Lizzy's mouth -- the Dream Demons. Meagan spots Lizzy's shirt sleeve on the floor. Erwin goes to a boiler, bends down and reaches way up underneath. After fishing around for a moment, he draws out a well-worn Mutant Ninja Turtles lunch box. Inside -- a vile of liquid, several syringes, and several pairs of cult shades. Meagan thinks about this for a moment, then nods her approval. Jesse jerks a thumb toward Erwin. Erwin hands Jesse an old rusty revolver. Erwin hands a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his | What nightmare does Freddy Krueger use against Jason Voorhees? | His childhood drowning |
open in the middle like a giant gate. The two halves swing open wide to reveal... The cultists carry Lizzy across the rocky ledge to the mausoleum. The outside of this ancient structure is engraved with weird murals depicting the evils of mankind. In the center -- a large iron gate that swings open as the cultists near. The cultists roll Lizzy over in their arms, holding her tight as they push her face forward into the mirror. The glass gives way like mercury, Lizzy's face disappearing into the mirror. ANGLE ON THE OTHER SIDE (UNDERWATER) -- Lizzy's face stares out into utter blackness. Then, some- thing large and evil looking swims up out of the darkness. Clawed hands reach out and grab Lizzy by the sides of the face as the huge, monstrous head moves forward -- evil lips parting -- tongue slithering out. The evil thing gives Lizzy a big, wet French kiss, locking it's lips over hers. Several slippery some- things slither into her mouth. Lizzy struggles, but the big evil thing is way too strong. Finally, it releases her and the cultists pull her back out. The cultists carry Lizzy out of Hell and back into the... Three evil-looking eels slither forth from Lizzy's mouth -- the Dream Demons. Meagan spots Lizzy's shirt sleeve on the floor. Erwin goes to a boiler, bends down and reaches way up underneath. After fishing around for a moment, he draws out a well-worn Mutant Ninja Turtles lunch box. Inside -- a vile of liquid, several syringes, and several pairs of cult shades. Meagan thinks about this for a moment, then nods her approval. Jesse jerks a thumb toward Erwin. Erwin hands Jesse an old rusty revolver. Erwin hands fantastic dream/time travel to... JASON'S FATHER comes to the doorway of their run- down cabin in dirty longjohns, holding a bottle of rye. He bellows: Jason jumps at his father's voice, hesitates only slightly, then runs toward him, stopping abruptly several paces away. Jason stands, looking at his bare feet. His father smacks him upside the head, shoving him towards the woodshed. Jason's pace slows as he enters the dark shed -- he knows what's coming next. Jason slowly complies as his father loosens his belt. Suddenly, JASON'S MOTHER is just outside the doorway, calling: Jason gives his father a sideways glance, then scurries towards his mother. Jason's mother gives him a mason jar stuffed with dollars and change. Jason holds his ground for a second, unsure whom to obey, when his mother shoos him away. Jason takes off up the road. His father sneers: Jason's mother pulls a knife from her apron. Jason's mother charges at her husband, shoving him back into the shed with the knife. Jason looks back. Through the open window he sees his mother's arm coming down repeatedly with the knife, his father's arms flailing helplessly. Then both disappear from view. After a moment his mother appears in the door- way, spattered with blood. She smiles and waves to him, calling: Jason turns and runs to... In the office, the HEAD COUNSELOR takes his money and shakes his hand. Jason sits at the end of the pier, looking at his own reflection. He removes the mask and watches as the distortions in the water make his face look normal. Someone comes up behind Jason slowly. Jason isn't aware of their presence until a shadowy reflection appears behind his own. Jason turns to see who when he is bed and grabs Jesse, pulling him down into the mattress. Meagan wakes and sees this, screaming as Jesse grabs onto the curtain. CLOSE ON CURTAIN ROD as the curtain pulls free of the rings. Jesse disappears into the bed, his screams echoing away. Meagan looks under the bed -- nothing. She rises up again, watching as Jesse's iv and electrode wires are pulled down after him. Meagan grabs a handful of tubes and wire and tries to pull Jesse back. But the pull is too strong and Meagan goes into the mattress. Meagan calls to him from the saloon door. But Jesse can't hear her. He's too busy shaking with fear... staring at something coming down the street. It's Freddy. Dressed in a Black Bart cowboy outfit. Trembling with fear, Jesse fumbles for his pistol. He pulls it out and FIRES. Freddy laughs. Jesse FIRES again. Freddy just laughs. Jesse FIRES again and again and again and Freddy just laughs and laughs and laughs. From the saloon, Meagan screams: Freddy looks over at her, annoyed. A NURSE shows up to answer the alarm. She sees Meagan standing over Jesse's body, covered in blood, and screams. Stormie enters the room a half-second later and gasps. Stormie reaches in and grabs Meagan, pulling her out of the room. Just then, Stormie spots Murdoch and his men getting off the elevator. They hear the nurse's screams and come running towards Jesse's room. Stormie pulls Meagan behind the nurse's station just as Murdoch and company go thundering past. Then a VOICE on the P.A. says: Stormie and Meagan exchange worrisome looks. The announcement repeats itself again. Then again. Stormie can't stand it anymore -- she stands up and picks suddenly pushed into the lake. Jason splashes to the surface, sputtering, trying to stay afloat. A hand pushes his head back under the water. JASON'S UNDERWATER P.O.V. -- a distorted image of whoever is holding him under. Jason thrusts out his arms, fighting to get back to the surface... fighting just to see who is killing him before he dies. Meagan and Stormie bounce, excitedly. But something is wrong. Jason thrashes around on the dock, unable to break the crisscross of high voltage chicken wire. But all Erwin can do is scratch his head. Meagan rushes to the shore line and screams out over the lake: Jason clenches his meaty fists and SLAMS them down against the diving dock. SMASHING it to bits. Water rushes over him and -- ZZZZT! KA-POW! A power transformer on shore EXPLODES, causing Meagan and her friends to cringe. When they look back, the electrical light show fades away, leaving nothing but smoke and floating debris. Meagan and Stormie turn to Erwin, who shrugs shyly and says: Meagan and Stormie begin a verbal barrage that would shrink any man to pus... much less Erwin. He cowers between them, offering quick excuses and humble apologies. All three are so wrapped up in laying blame that they never notice Jason's shadowy figure as it rises from the lake. Then they do see him... scream and run. Jason charges after the kids in his familiar "unstoppable killer" gait. Erwin ducks inside the tool shed as Meagan and Stormie dash past. He closes the door behind him and squirms out a tiny window just as Jason kicks open the door and steps inside. Erwin races around to the front and closes the door. He fastens the latch flies open and the guard leaps inside like Marshall Dillon, snapping on the lights. He gasps, eyes going wide as he scans the room. One of the drawers is open... the stiff's chest has got a huge hole in it... blood spattered everywhere... a bunch of bloody footprints leading over to the cabinet... Suddenly, the guard sees Meagan half out the window and cries: Meagan rolls out of the window just as the guard FIRES. The unbroken section of the window SHATTERS. The guard curses and races for the... The ol' coot shines his light down into Jason's empty grave. The S.W.A.T. commander comes up to Murdoch. Erwin finishes sewing up Jason and climbs back onto the pier, cutting the diving platform free. He kicks it off and it floats out into the lake, drifting free. Then Erwin herds the girls down the shore, leading them over to where a short trench has been dug leading from the water's edge. In the bottom of the trench -- an uncovered power cable. Erwin picks up a nearby bucket of water and sets it at the head of the trench. Erwin kicks the bucket over. The water washes down the trench, over the cable, and -- POW! Z-Z-Z-ZAP! A huge SPARK HITS EXPLODES. Then the lake begins to glow and the water begins to churn. Erwin and the girls jump back as ELECTRICITY ARCS from the lake, engulfing the diving platform. The ARCS of ELECTRICITY leap from the chicken wire onto Jason's body, his massive frame convulsing. CLOSE ON HOCKEY MASK as we PUSH IN -- the electricity spirals down into the eye hole like water running down a drain. CLOSE ON JASON'S EYE as it opens! We dive into the eye and take a | What is the police explanation for the death of Blake and his father? | murder-suicide |
Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his bed and grabs Jesse, pulling him down into the mattress. Meagan wakes and sees this, screaming as Jesse grabs onto the curtain. CLOSE ON CURTAIN ROD as the curtain pulls free of the rings. Jesse disappears into the bed, his screams echoing away. Meagan looks under the bed -- nothing. She rises up again, watching as Jesse's iv and electrode wires are pulled down after him. Meagan grabs a handful of tubes and wire and tries to pull Jesse back. But the pull is too strong and Meagan goes into the mattress. Meagan calls to him from the saloon door. But Jesse can't hear her. He's too busy shaking with fear... staring at something coming down the street. It's Freddy. Dressed in a Black Bart cowboy outfit. Trembling with fear, Jesse fumbles for his pistol. He pulls it out and FIRES. Freddy laughs. Jesse FIRES again. Freddy just laughs. Jesse FIRES again and again and again and Freddy just laughs and laughs and laughs. From the saloon, Meagan screams: Freddy looks over at her, annoyed. A NURSE shows up to answer the alarm. She sees Meagan standing over Jesse's body, covered in blood, and screams. Stormie enters the room a half-second later and gasps. Stormie reaches in and grabs Meagan, pulling her out of the room. Just then, Stormie spots Murdoch and his men getting off the elevator. They hear the nurse's screams and come running towards Jesse's room. Stormie pulls Meagan behind the nurse's station just as Murdoch and company go thundering past. Then a VOICE on the P.A. says: Stormie and Meagan exchange worrisome looks. The announcement repeats itself again. Then again. Stormie can't stand it anymore -- she stands up and picks with a lifeless THUD. The little dog starts BARKING ferociously when another SHOT silences her as well. Another cultist leaps out of the hearse and runs to the gate, cutting the chain with a pair of bolt cutters. He swings the gate open and the funeral procession proceeds inside. Lizzy is brought forward, held by a couple cultists, and injected with dream dope as the needle is passed around. She no longer struggles, accepting her fate with droopy eyes. LIZZY'S DREAM DOPE P.O.V. -- as she watches one of the cultists reach down and put a rusty funnel into Freddy's broken jawbone. Her vision gets blurry... more surreal as another cult member steps forward with the tupperware. He pours the dream demons into the funnel. CLOSE ON FREDDY'S REMAINS as the dream demons swim around inside his skull. His bones start to bleed... blood becoming arteries and veins... vessels becoming muscle... muscle growing scarred flesh... There is a FLASH from the pit. Then suddenly, Freddy Krueger -- as you've known him, as you've loved him -- leaps out of the pit and cries: Lizzy rolls her eyes up and faints. The cultists FIRE their weapons into the air and cheer as the building-high stacks of wrecked cars surrounding them HONK their HORNS and FLASH their LIGHTS. Jesse HONKS the horn and yells: Suddenly, a CRAZY OL' COOT appears on the opposite side with a shotgun. Everyone in the car jumps. The old man gives the occupants of the car a going over with his one good eye, hesitating a moment over Erwin, who scrunches down in the back seat, hiding under a baseball cap. Everyone in the car takes a sharp breath -- cold busted! Then they start saying "No! | What is the clinical use for Hynocil? | Dream suppression |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at open in the middle like a giant gate. The two halves swing open wide to reveal... The cultists carry Lizzy across the rocky ledge to the mausoleum. The outside of this ancient structure is engraved with weird murals depicting the evils of mankind. In the center -- a large iron gate that swings open as the cultists near. The cultists roll Lizzy over in their arms, holding her tight as they push her face forward into the mirror. The glass gives way like mercury, Lizzy's face disappearing into the mirror. ANGLE ON THE OTHER SIDE (UNDERWATER) -- Lizzy's face stares out into utter blackness. Then, some- thing large and evil looking swims up out of the darkness. Clawed hands reach out and grab Lizzy by the sides of the face as the huge, monstrous head moves forward -- evil lips parting -- tongue slithering out. The evil thing gives Lizzy a big, wet French kiss, locking it's lips over hers. Several slippery some- things slither into her mouth. Lizzy struggles, but the big evil thing is way too strong. Finally, it releases her and the cultists pull her back out. The cultists carry Lizzy out of Hell and back into the... Three evil-looking eels slither forth from Lizzy's mouth -- the Dream Demons. Meagan spots Lizzy's shirt sleeve on the floor. Erwin goes to a boiler, bends down and reaches way up underneath. After fishing around for a moment, he draws out a well-worn Mutant Ninja Turtles lunch box. Inside -- a vile of liquid, several syringes, and several pairs of cult shades. Meagan thinks about this for a moment, then nods her approval. Jesse jerks a thumb toward Erwin. Erwin hands Jesse an old rusty revolver. Erwin hands Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. the drawings -- childlike renderings of Freddy. Meagan slowly gets to her knees and takes a peek under Lizzy's bed. Suddenly, a doll-sized Freddy scurries out from under the bed, flashing past Meagan's face and running out the door. Meagan yelps and touches her face -- five tiny slash marks on her cheek. Lizzy clucks. Meagan looks out the door, incredulous. But when Meagan looks back, Lizzy is gone. Lizzy echoes away as Meagan finds herself standing in the... The casket starts to move -- THUMP! THUMP! THUMP! Then it stops. Tentatively, Meagan opens the lid again. Inside -- FREDDY KRUEGER. He grabs her arm. Meagan screams. Freddy leaps out of the casket in a tuxedo, crooning: Meagan looks down -- she's wearing a wedding dress, spattered with blood. Behind her, the chapel has filled with dozens of DEAD PEOPLE in various stages of decay. A SATANIC PRIEST appears in the pulpit and asks: Meagan looks to her left -- four girls hold bouquets, dressed in body bags. Freddy opens his tuxedo jacket to reveal several trapped souls struggling to get out of his chest. Meagan turns. It's her boyfriend -- JESSE. He stands in the chapel doorway, backlit by bright light, arms outstretched. Meagan runs to Jesse and grabs him, their arms encircling one another. She looks up into Jesse's eyes... only it isn't Jesse. It's Jason. Meagan screams as Jason raises his machete, bringing it down between her eyes... Suddenly, the doll opens it's eyes and sneers: The Freddy doll flashes it's tiny glove of knives, thrusting them deep into Meagan's chest. Meagan sits up suddenly in bed, clutching her chest. She looks down and sees that there is nothing there. Meagan sighs and falls back in her | What is Lori and Will's relationship when introduced in the story? | Exes |
Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. | While fighting Jason and the teen's, what body parts are severed from Freddy? | Arm and head |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And the drawings -- childlike renderings of Freddy. Meagan slowly gets to her knees and takes a peek under Lizzy's bed. Suddenly, a doll-sized Freddy scurries out from under the bed, flashing past Meagan's face and running out the door. Meagan yelps and touches her face -- five tiny slash marks on her cheek. Lizzy clucks. Meagan looks out the door, incredulous. But when Meagan looks back, Lizzy is gone. Lizzy echoes away as Meagan finds herself standing in the... The casket starts to move -- THUMP! THUMP! THUMP! Then it stops. Tentatively, Meagan opens the lid again. Inside -- FREDDY KRUEGER. He grabs her arm. Meagan screams. Freddy leaps out of the casket in a tuxedo, crooning: Meagan looks down -- she's wearing a wedding dress, spattered with blood. Behind her, the chapel has filled with dozens of DEAD PEOPLE in various stages of decay. A SATANIC PRIEST appears in the pulpit and asks: Meagan looks to her left -- four girls hold bouquets, dressed in body bags. Freddy opens his tuxedo jacket to reveal several trapped souls struggling to get out of his chest. Meagan turns. It's her boyfriend -- JESSE. He stands in the chapel doorway, backlit by bright light, arms outstretched. Meagan runs to Jesse and grabs him, their arms encircling one another. She looks up into Jesse's eyes... only it isn't Jesse. It's Jason. Meagan screams as Jason raises his machete, bringing it down between her eyes... Suddenly, the doll opens it's eyes and sneers: The Freddy doll flashes it's tiny glove of knives, thrusting them deep into Meagan's chest. Meagan sits up suddenly in bed, clutching her chest. She looks down and sees that there is nothing there. Meagan sighs and falls back in her up, when her skirt blows up. She presses it down but the WIND is too great and the skirt billows up, revealing her underwear. The class roars with laughter. But Meagan isn't reading her report anymore, she's busy trying to push down her skirt when -- RIP! -- the WIND blows her skirt off. Her classmates fall over themselves, laughing. RIP! -- Meagan's blouse blows away. She tries to hide behind the podium when that too is swept off. Meagan clutches at her bra and panties as they start to drift away -- thread by thread. She is almost naked. Meagan looks up at her classmates, red in the face. Her classmates point and laugh -- only now they are all a bunch of old rotten skeletons. And up front, in the center where Miss Krepps sat... is Freddy! He wears a beanie with a propeller, points and laughs: Meagan screams, clutching at the last few tiny strands of cloth that cover her body. She calls to Jesse, pleading: But Jesse just sits at his desk -- dead. He reaches up and slowly lowers a hockey mask over his pale, expressionless face. Freddy pulls out an over-sized camera with a gargantuan flashgun attached. The flash bulb is the size of a beach ball and has a nuclear warning etched in the front. Freddy sizes Meagan up in the viewfinder and sneers: PHOOMPH!!! -- the flash bulb goes off with an atomic light. Meagan screams as her skeleton is blown back against the blackboard -- vaporized! Meagan looks around, bewildered and confused. Meagan realizes that she was dreaming and pulls herself together. Meagan stands up and faints. Meagan is laying on a couch, a cloth over her head. | What is the names of the psychiatric hospital at which Will and Mark are patients? | Westin Hills Psychiatric Hospital |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. | Why does Freddy choose to try and stop Jason? | Jason's kill spree would deny Freddy victims |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his of the bag. Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S | Where is Freddy rendered powerless? | In Hell. |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his of the bag. Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. | Who does Freddy disguise himself as? | Pamela Voorhees |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And of the bag. Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, | What does Freddy manipulate Jason into doing? | killing |
a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, fantastic dream/time travel to... JASON'S FATHER comes to the doorway of their run- down cabin in dirty longjohns, holding a bottle of rye. He bellows: Jason jumps at his father's voice, hesitates only slightly, then runs toward him, stopping abruptly several paces away. Jason stands, looking at his bare feet. His father smacks him upside the head, shoving him towards the woodshed. Jason's pace slows as he enters the dark shed -- he knows what's coming next. Jason slowly complies as his father loosens his belt. Suddenly, JASON'S MOTHER is just outside the doorway, calling: Jason gives his father a sideways glance, then scurries towards his mother. Jason's mother gives him a mason jar stuffed with dollars and change. Jason holds his ground for a second, unsure whom to obey, when his mother shoos him away. Jason takes off up the road. His father sneers: Jason's mother pulls a knife from her apron. Jason's mother charges at her husband, shoving him back into the shed with the knife. Jason looks back. Through the open window he sees his mother's arm coming down repeatedly with the knife, his father's arms flailing helplessly. Then both disappear from view. After a moment his mother appears in the door- way, spattered with blood. She smiles and waves to him, calling: Jason turns and runs to... In the office, the HEAD COUNSELOR takes his money and shakes his hand. Jason sits at the end of the pier, looking at his own reflection. He removes the mask and watches as the distortions in the water make his face look normal. Someone comes up behind Jason slowly. Jason isn't aware of their presence until a shadowy reflection appears behind his own. Jason turns to see who when he is flies open and the guard leaps inside like Marshall Dillon, snapping on the lights. He gasps, eyes going wide as he scans the room. One of the drawers is open... the stiff's chest has got a huge hole in it... blood spattered everywhere... a bunch of bloody footprints leading over to the cabinet... Suddenly, the guard sees Meagan half out the window and cries: Meagan rolls out of the window just as the guard FIRES. The unbroken section of the window SHATTERS. The guard curses and races for the... The ol' coot shines his light down into Jason's empty grave. The S.W.A.T. commander comes up to Murdoch. Erwin finishes sewing up Jason and climbs back onto the pier, cutting the diving platform free. He kicks it off and it floats out into the lake, drifting free. Then Erwin herds the girls down the shore, leading them over to where a short trench has been dug leading from the water's edge. In the bottom of the trench -- an uncovered power cable. Erwin picks up a nearby bucket of water and sets it at the head of the trench. Erwin kicks the bucket over. The water washes down the trench, over the cable, and -- POW! Z-Z-Z-ZAP! A huge SPARK HITS EXPLODES. Then the lake begins to glow and the water begins to churn. Erwin and the girls jump back as ELECTRICITY ARCS from the lake, engulfing the diving platform. The ARCS of ELECTRICITY leap from the chicken wire onto Jason's body, his massive frame convulsing. CLOSE ON HOCKEY MASK as we PUSH IN -- the electricity spirals down into the eye hole like water running down a drain. CLOSE ON JASON'S EYE as it opens! We dive into the eye and take a of the bag. Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S | Who is Jason manipulated into killing? | Springwood teenagers |
a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at fantastic dream/time travel to... JASON'S FATHER comes to the doorway of their run- down cabin in dirty longjohns, holding a bottle of rye. He bellows: Jason jumps at his father's voice, hesitates only slightly, then runs toward him, stopping abruptly several paces away. Jason stands, looking at his bare feet. His father smacks him upside the head, shoving him towards the woodshed. Jason's pace slows as he enters the dark shed -- he knows what's coming next. Jason slowly complies as his father loosens his belt. Suddenly, JASON'S MOTHER is just outside the doorway, calling: Jason gives his father a sideways glance, then scurries towards his mother. Jason's mother gives him a mason jar stuffed with dollars and change. Jason holds his ground for a second, unsure whom to obey, when his mother shoos him away. Jason takes off up the road. His father sneers: Jason's mother pulls a knife from her apron. Jason's mother charges at her husband, shoving him back into the shed with the knife. Jason looks back. Through the open window he sees his mother's arm coming down repeatedly with the knife, his father's arms flailing helplessly. Then both disappear from view. After a moment his mother appears in the door- way, spattered with blood. She smiles and waves to him, calling: Jason turns and runs to... In the office, the HEAD COUNSELOR takes his money and shakes his hand. Jason sits at the end of the pier, looking at his own reflection. He removes the mask and watches as the distortions in the water make his face look normal. Someone comes up behind Jason slowly. Jason isn't aware of their presence until a shadowy reflection appears behind his own. Jason turns to see who when he is flies open and the guard leaps inside like Marshall Dillon, snapping on the lights. He gasps, eyes going wide as he scans the room. One of the drawers is open... the stiff's chest has got a huge hole in it... blood spattered everywhere... a bunch of bloody footprints leading over to the cabinet... Suddenly, the guard sees Meagan half out the window and cries: Meagan rolls out of the window just as the guard FIRES. The unbroken section of the window SHATTERS. The guard curses and races for the... The ol' coot shines his light down into Jason's empty grave. The S.W.A.T. commander comes up to Murdoch. Erwin finishes sewing up Jason and climbs back onto the pier, cutting the diving platform free. He kicks it off and it floats out into the lake, drifting free. Then Erwin herds the girls down the shore, leading them over to where a short trench has been dug leading from the water's edge. In the bottom of the trench -- an uncovered power cable. Erwin picks up a nearby bucket of water and sets it at the head of the trench. Erwin kicks the bucket over. The water washes down the trench, over the cable, and -- POW! Z-Z-Z-ZAP! A huge SPARK HITS EXPLODES. Then the lake begins to glow and the water begins to churn. Erwin and the girls jump back as ELECTRICITY ARCS from the lake, engulfing the diving platform. The ARCS of ELECTRICITY leap from the chicken wire onto Jason's body, his massive frame convulsing. CLOSE ON HOCKEY MASK as we PUSH IN -- the electricity spirals down into the eye hole like water running down a drain. CLOSE ON JASON'S EYE as it opens! We dive into the eye and take a back seat, Erwin is nuzzled between Stormie's breasts, sucking his thumb. Both are fast asleep. Jesse stares at the road ahead, his own eyelids drooping. The car starts to weave. ANGLE OUT WINDSHIELD -- we flash past Freddy holding a cardboard sign by the side of the road: WILL KILL <b> FOR FOOD. </b> Jesse shakes his head -- nah! He tries to concentrate on the road, his eyelids falling once more. Jesse's car zooms past a billboard. Behind the bill- board -- a highway patrol car, a radar gun sticking out of the driver's window. CLOSE ON RADAR GUN as Jesse's car passes in the back- ground, the red digits cascading up. Freddy, now dressed as a highway patrolman, sits behind the wheel. The radar gun's display is reflected in his mirrored shades. It reads: KILL THEM. Freddy starts the car and pulls out, but what comes out from behind the billboard isn't a patrol car -- it's Freddy's NIGHTMAREMOBILE -- big chrome pipes belching HELLFIRE. ANGLE IN JESSE'S REARVIEW MIRROR as Jesse's eyelids close and his head nods forward, revealing the night- maremobile closing from behind fast. The nightmaremobile runs up to the back of Jesse's car just an inch from the bumper. Freddy moves one of the dozen of levers on the dash. CLOSE ON FREDDY'S HOOD ORNAMENT -- a small version of Freddy's glove. It extends out towards the back of Jesse's car, one of the tiny knives inserting into the trunk lock and turning with a slight CLICK. The trunk lid opens. ANGLE INSIDE TRUNK -- the plastic bags with Jason's remains are moving! Freddy works another level and the tiny glove slits each bag. The various pieces of Jason (hands, boots, intestines, etc.) crawl out | What does Jason regain by killing the teenagers? | his strength |
a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his of the bag. Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S fantastic dream/time travel to... JASON'S FATHER comes to the doorway of their run- down cabin in dirty longjohns, holding a bottle of rye. He bellows: Jason jumps at his father's voice, hesitates only slightly, then runs toward him, stopping abruptly several paces away. Jason stands, looking at his bare feet. His father smacks him upside the head, shoving him towards the woodshed. Jason's pace slows as he enters the dark shed -- he knows what's coming next. Jason slowly complies as his father loosens his belt. Suddenly, JASON'S MOTHER is just outside the doorway, calling: Jason gives his father a sideways glance, then scurries towards his mother. Jason's mother gives him a mason jar stuffed with dollars and change. Jason holds his ground for a second, unsure whom to obey, when his mother shoos him away. Jason takes off up the road. His father sneers: Jason's mother pulls a knife from her apron. Jason's mother charges at her husband, shoving him back into the shed with the knife. Jason looks back. Through the open window he sees his mother's arm coming down repeatedly with the knife, his father's arms flailing helplessly. Then both disappear from view. After a moment his mother appears in the door- way, spattered with blood. She smiles and waves to him, calling: Jason turns and runs to... In the office, the HEAD COUNSELOR takes his money and shakes his hand. Jason sits at the end of the pier, looking at his own reflection. He removes the mask and watches as the distortions in the water make his face look normal. Someone comes up behind Jason slowly. Jason isn't aware of their presence until a shadowy reflection appears behind his own. Jason turns to see who when he is flies open and the guard leaps inside like Marshall Dillon, snapping on the lights. He gasps, eyes going wide as he scans the room. One of the drawers is open... the stiff's chest has got a huge hole in it... blood spattered everywhere... a bunch of bloody footprints leading over to the cabinet... Suddenly, the guard sees Meagan half out the window and cries: Meagan rolls out of the window just as the guard FIRES. The unbroken section of the window SHATTERS. The guard curses and races for the... The ol' coot shines his light down into Jason's empty grave. The S.W.A.T. commander comes up to Murdoch. Erwin finishes sewing up Jason and climbs back onto the pier, cutting the diving platform free. He kicks it off and it floats out into the lake, drifting free. Then Erwin herds the girls down the shore, leading them over to where a short trench has been dug leading from the water's edge. In the bottom of the trench -- an uncovered power cable. Erwin picks up a nearby bucket of water and sets it at the head of the trench. Erwin kicks the bucket over. The water washes down the trench, over the cable, and -- POW! Z-Z-Z-ZAP! A huge SPARK HITS EXPLODES. Then the lake begins to glow and the water begins to churn. Erwin and the girls jump back as ELECTRICITY ARCS from the lake, engulfing the diving platform. The ARCS of ELECTRICITY leap from the chicken wire onto Jason's body, his massive frame convulsing. CLOSE ON HOCKEY MASK as we PUSH IN -- the electricity spirals down into the eye hole like water running down a drain. CLOSE ON JASON'S EYE as it opens! We dive into the eye and take a right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, | What does Jason do to Trey? | stabs him and folds him in half |
of the bag. Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at open in the middle like a giant gate. The two halves swing open wide to reveal... The cultists carry Lizzy across the rocky ledge to the mausoleum. The outside of this ancient structure is engraved with weird murals depicting the evils of mankind. In the center -- a large iron gate that swings open as the cultists near. The cultists roll Lizzy over in their arms, holding her tight as they push her face forward into the mirror. The glass gives way like mercury, Lizzy's face disappearing into the mirror. ANGLE ON THE OTHER SIDE (UNDERWATER) -- Lizzy's face stares out into utter blackness. Then, some- thing large and evil looking swims up out of the darkness. Clawed hands reach out and grab Lizzy by the sides of the face as the huge, monstrous head moves forward -- evil lips parting -- tongue slithering out. The evil thing gives Lizzy a big, wet French kiss, locking it's lips over hers. Several slippery some- things slither into her mouth. Lizzy struggles, but the big evil thing is way too strong. Finally, it releases her and the cultists pull her back out. The cultists carry Lizzy out of Hell and back into the... Three evil-looking eels slither forth from Lizzy's mouth -- the Dream Demons. Meagan spots Lizzy's shirt sleeve on the floor. Erwin goes to a boiler, bends down and reaches way up underneath. After fishing around for a moment, he draws out a well-worn Mutant Ninja Turtles lunch box. Inside -- a vile of liquid, several syringes, and several pairs of cult shades. Meagan thinks about this for a moment, then nods her approval. Jesse jerks a thumb toward Erwin. Erwin hands Jesse an old rusty revolver. Erwin hands | Following a nightmare, what does Blake awaken to? | his beheaded father |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at of the bag. Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S suddenly pushed into the lake. Jason splashes to the surface, sputtering, trying to stay afloat. A hand pushes his head back under the water. JASON'S UNDERWATER P.O.V. -- a distorted image of whoever is holding him under. Jason thrusts out his arms, fighting to get back to the surface... fighting just to see who is killing him before he dies. Meagan and Stormie bounce, excitedly. But something is wrong. Jason thrashes around on the dock, unable to break the crisscross of high voltage chicken wire. But all Erwin can do is scratch his head. Meagan rushes to the shore line and screams out over the lake: Jason clenches his meaty fists and SLAMS them down against the diving dock. SMASHING it to bits. Water rushes over him and -- ZZZZT! KA-POW! A power transformer on shore EXPLODES, causing Meagan and her friends to cringe. When they look back, the electrical light show fades away, leaving nothing but smoke and floating debris. Meagan and Stormie turn to Erwin, who shrugs shyly and says: Meagan and Stormie begin a verbal barrage that would shrink any man to pus... much less Erwin. He cowers between them, offering quick excuses and humble apologies. All three are so wrapped up in laying blame that they never notice Jason's shadowy figure as it rises from the lake. Then they do see him... scream and run. Jason charges after the kids in his familiar "unstoppable killer" gait. Erwin ducks inside the tool shed as Meagan and Stormie dash past. He closes the door behind him and squirms out a tiny window just as Jason kicks open the door and steps inside. Erwin races around to the front and closes the door. He fastens the latch a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his flies open and the guard leaps inside like Marshall Dillon, snapping on the lights. He gasps, eyes going wide as he scans the room. One of the drawers is open... the stiff's chest has got a huge hole in it... blood spattered everywhere... a bunch of bloody footprints leading over to the cabinet... Suddenly, the guard sees Meagan half out the window and cries: Meagan rolls out of the window just as the guard FIRES. The unbroken section of the window SHATTERS. The guard curses and races for the... The ol' coot shines his light down into Jason's empty grave. The S.W.A.T. commander comes up to Murdoch. Erwin finishes sewing up Jason and climbs back onto the pier, cutting the diving platform free. He kicks it off and it floats out into the lake, drifting free. Then Erwin herds the girls down the shore, leading them over to where a short trench has been dug leading from the water's edge. In the bottom of the trench -- an uncovered power cable. Erwin picks up a nearby bucket of water and sets it at the head of the trench. Erwin kicks the bucket over. The water washes down the trench, over the cable, and -- POW! Z-Z-Z-ZAP! A huge SPARK HITS EXPLODES. Then the lake begins to glow and the water begins to churn. Erwin and the girls jump back as ELECTRICITY ARCS from the lake, engulfing the diving platform. The ARCS of ELECTRICITY leap from the chicken wire onto Jason's body, his massive frame convulsing. CLOSE ON HOCKEY MASK as we PUSH IN -- the electricity spirals down into the eye hole like water running down a drain. CLOSE ON JASON'S EYE as it opens! We dive into the eye and take a | What does Jason do to Blake? | kills him |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at fantastic dream/time travel to... JASON'S FATHER comes to the doorway of their run- down cabin in dirty longjohns, holding a bottle of rye. He bellows: Jason jumps at his father's voice, hesitates only slightly, then runs toward him, stopping abruptly several paces away. Jason stands, looking at his bare feet. His father smacks him upside the head, shoving him towards the woodshed. Jason's pace slows as he enters the dark shed -- he knows what's coming next. Jason slowly complies as his father loosens his belt. Suddenly, JASON'S MOTHER is just outside the doorway, calling: Jason gives his father a sideways glance, then scurries towards his mother. Jason's mother gives him a mason jar stuffed with dollars and change. Jason holds his ground for a second, unsure whom to obey, when his mother shoos him away. Jason takes off up the road. His father sneers: Jason's mother pulls a knife from her apron. Jason's mother charges at her husband, shoving him back into the shed with the knife. Jason looks back. Through the open window he sees his mother's arm coming down repeatedly with the knife, his father's arms flailing helplessly. Then both disappear from view. After a moment his mother appears in the door- way, spattered with blood. She smiles and waves to him, calling: Jason turns and runs to... In the office, the HEAD COUNSELOR takes his money and shakes his hand. Jason sits at the end of the pier, looking at his own reflection. He removes the mask and watches as the distortions in the water make his face look normal. Someone comes up behind Jason slowly. Jason isn't aware of their presence until a shadowy reflection appears behind his own. Jason turns to see who when he is a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. Before the commander can reply, taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. Meagan clucks and bends down, peering under the bed -- nada. Meagan looks down at her parents. Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. Finally, somebody says: All the monsters get grumbling and start to exit. | Jason emerges from the lake, holding what? | Freddy's severed head |
On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... Meagan looks at Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: All of this went over Meagan's head. Stormie shrugs: Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: Then all three FALL THROUGH their chairs into... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: But Erwin is paralyzed with fear. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! Jesse spins, aiming the pistol. But nothing is there. Erwin stares wide-eyed, frozen to the spot. Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. Jesse looks over to where Meagan is still sleeping. It leads her to her house. Meagan enters the front door. He looks up and quietly shushes her. And a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. LAUGHTER from the crowd. DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: Up in her cage, Meagan clutches a terrifed Lizzy. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his of the bag. Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S suddenly pushed into the lake. Jason splashes to the surface, sputtering, trying to stay afloat. A hand pushes his head back under the water. JASON'S UNDERWATER P.O.V. -- a distorted image of whoever is holding him under. Jason thrusts out his arms, fighting to get back to the surface... fighting just to see who is killing him before he dies. Meagan and Stormie bounce, excitedly. But something is wrong. Jason thrashes around on the dock, unable to break the crisscross of high voltage chicken wire. But all Erwin can do is scratch his head. Meagan rushes to the shore line and screams out over the lake: Jason clenches his meaty fists and SLAMS them down against the diving dock. SMASHING it to bits. Water rushes over him and -- ZZZZT! KA-POW! A power transformer on shore EXPLODES, causing Meagan and her friends to cringe. When they look back, the electrical light show fades away, leaving nothing but smoke and floating debris. Meagan and Stormie turn to Erwin, who shrugs shyly and says: Meagan and Stormie begin a verbal barrage that would shrink any man to pus... much less Erwin. He cowers between them, offering quick excuses and humble apologies. All three are so wrapped up in laying blame that they never notice Jason's shadowy figure as it rises from the lake. Then they do see him... scream and run. Jason charges after the kids in his familiar "unstoppable killer" gait. Erwin ducks inside the tool shed as Meagan and Stormie dash past. He closes the door behind him and squirms out a tiny window just as Jason kicks open the door and steps inside. Erwin races around to the front and closes the door. He fastens the latch | What does Jason tear off of Freddy? | his arm |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) the bar. The Woman drops the shirt she was holding and walks off with her children. The T-shirt Vendor goes back to selling his shirts. The Man continues speaking as Ike and the woman continue their conversation. The Woman gets up and begins throwing darts. She starts throwing darts. The Woman goes to her bar stool, gathering her bag and leaves a tip for the Bartender. She whacks him with a newspaper, then shakes his hand. The Woman leaves the bar. The phone rings. Te Bartender answers it as Ike sits back on his bar stool. Ike grabs the woman's magazine that she left on the bar and starts glancing at it. The Man at the bar has heard the whole thing. MAN (cont'd) I said, I've seen much worse. Ike looks at the Man with reservation. The Man is George Swilling. Ike gets up and moves to the dart board. He removes the darts. MAN (cont'd) I've witnessed far more treacherous and nefarious exits than that. At least she castigated you in private. Ike turns slightly, giving the man his back. IKE (cont'd) Kevin, you've got some napkins? The Bartender gives him cocktail napkins and a pen. Ike starts making notes. Ike looks up from his writing. The Man gets up and starts throwing darts. Ike moves to the Bartender and pays him. Both Ike and Bartender turn and stare. Ike turns and heads for the door. The Man calls after him, getting up from his stool without stopping his enthusiastic story. MAN (cont'd) Adios. Plows down the aisle, knocking old ladies out of her way like the running of the bulls at Pamplona. And guess what? Ike stops in his tracks. He turns pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. Good job, honey! But Maggie's whoop sails out above it all. Cory waves. But not at Peggy. He directs his delight at Maggie, who jumps up and down by the dugout. Ike looks between Cory, Maggie and finally, Peggy. Peggy jerks her waving hand back down to her side and sits down. Ike pretends not to have noticed. The two watch as Maggie and Cory smile at each other. Next BATTER hits one to deep left field and it lands in the grave yard. Cory scores, greeted by Maggie. Ike and Peggy watch as Cory and Maggie belly-bump and high-five each other in celebration of Cory's play. No looks at Peggy. Ike keeps an empathetic silence, seeing that Peggy is truly hurt. PEGGY (cont'd) I'll be back in a second. Suddenly, Peggy stands, pushes past him and runs down the steps. Maggie looks up just in time to catch Peggy's exit. Ike pulls his tape recorder out of his pocket and starts speaking into it. Maggie shoots Ike an accusing look, walks up to him in the bleachers and sits next to him. Ike does an on-the-button imitation of Maggie jumping excitedly at Cory. Now Maggie sees what he's getting at. Ike walks away. Alone, Maggie tries to seem enthused. Maggie moves up the stairs towards Ike's room. She begins ripping many of other post-it off the picture frame. MAGGIE (cont'd) (as she takes post-its) Rude... She's ripping them down, fast and furious, then shoves them in her shoulder bag. MAGGIE (cont'd) Thief! THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to the bathroom, and shuts and locks the door. Just as Ike enters, he sniffs and looks around the | Who is the source that gave Ike false information about Maggie for an article? | One of Maggie's former fiances |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a beat. Brian moves away. Maggie follows and sits in a nearby pew. A woman, MRS. MURPHY, rushes in. The woman goes into the confessional booth to wait. Brian sits next to Maggie. She turns to rush out, then stops herself. She moves to the confessional, knocks, then speaks to Mrs. Murphy. MAGGIE (cont'd) Excuse me, sorry, forgot my purse. Good luck. Maggie closes the booth curtain and turns to Brian. MAGGIE (cont'd) Wait -- what was the ridiculous question he asked? Brian smiles mischievously. She starts to go, then stops in her tracks as she hears: Maggie looks at Brian. Suddenly, she remembers too. And she scampers out. Brian goes back into the confessional. A CRASH, coming from the nearby back room, we hear loud muttering in Spanish, then out stumbles GILL CHAVEZ, 34, wearing a grease- stained Grateful Dead tie-dyed T-shirt. He grins triumphantly, worshipfully cradling a CASSETTE TAPE in his hands. Maggie regards her former fiance with patient warmth. Gill looks up and gives Maggie a fond, hazy smile. He pulls out the cassette from its case. It's broken. The tape is dangling from the cassette. GILL (cont'd) (disappointed) Oh, I'll play it for you. Gill picks up an electric GUITAR and starts to play. Suddenly, a loud CHUCKLING emanates from the car overhead. MAGGIE (cont'd) What was that? Maggie stops Gill from playing. She shoots her ex an angry glare and moves a lever on the shop wall. With a HUM, the car descends. As the hydraulic lift slows, the car is lowered, revealing Ike sitting in the driver's seat. He has been enjoying the photograph he's holding. Maggie swipes for the photo, but Ike is faster at pulling it away. Gill takes off his guitar and pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. | Who is Bob Kelly to Maggie? | her fourth fiance |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) beat. Brian moves away. Maggie follows and sits in a nearby pew. A woman, MRS. MURPHY, rushes in. The woman goes into the confessional booth to wait. Brian sits next to Maggie. She turns to rush out, then stops herself. She moves to the confessional, knocks, then speaks to Mrs. Murphy. MAGGIE (cont'd) Excuse me, sorry, forgot my purse. Good luck. Maggie closes the booth curtain and turns to Brian. MAGGIE (cont'd) Wait -- what was the ridiculous question he asked? Brian smiles mischievously. She starts to go, then stops in her tracks as she hears: Maggie looks at Brian. Suddenly, she remembers too. And she scampers out. Brian goes back into the confessional. A CRASH, coming from the nearby back room, we hear loud muttering in Spanish, then out stumbles GILL CHAVEZ, 34, wearing a grease- stained Grateful Dead tie-dyed T-shirt. He grins triumphantly, worshipfully cradling a CASSETTE TAPE in his hands. Maggie regards her former fiance with patient warmth. Gill looks up and gives Maggie a fond, hazy smile. He pulls out the cassette from its case. It's broken. The tape is dangling from the cassette. GILL (cont'd) (disappointed) Oh, I'll play it for you. Gill picks up an electric GUITAR and starts to play. Suddenly, a loud CHUCKLING emanates from the car overhead. MAGGIE (cont'd) What was that? Maggie stops Gill from playing. She shoots her ex an angry glare and moves a lever on the shop wall. With a HUM, the car descends. As the hydraulic lift slows, the car is lowered, revealing Ike sitting in the driver's seat. He has been enjoying the photograph he's holding. Maggie swipes for the photo, but Ike is faster at pulling it away. Gill takes off his guitar and couch. IKE (cont'd) I think the most anybody can honestly say is, "Look..." (sits on the arm of the couch) "I guarantee that we'll have tough times. I guarantee that at some point one or both of us will want to get out of this thing. But I also guarantee that if I don't ask you to be mine, I'll regret it for the rest of my life. Because I know in my heart -- you're the only one for me" Maggie stares at Ike for a beat. His words have taken a little bit of her breath away. She covers. She moves from the fireplace to a chair and sits. MAGGIE (cont'd) I'd like it better on a scoreboard. (lightly) Is that how you proposed when you asked your wife to marry you? Ike is taken aback. MAGGIE (cont'd) Don't look so surprised, you've got divorce written all over you. Ike takes a swallow of cappuccino. Ike is restless. He stands up. Ike puts down his cup of coffee, gets his tape recorder and sits close to Maggie. Maggie move to TV. She picks up Ike's stolen post-it notes and her wedding video on top of the TV, and goes to the front door. MAGGIE (cont'd) I'll just need one more day to make sure your check clears. A spectacular dress fills the small window. It's beautiful, romantic, sexy. Maggie and Ike can be seen in the reflection. Maggie gives Ike a smile that lights up the sky. They go inside. The flower girl sees Maggie and runs and hides behind Polly. Mrs. Whittenmeyer comes forward to greet Maggie. Maggie leads her to the front window. She points to the dress. She smiles back to Mrs. Whittenmeyer, expecting up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. | What is one specific thing that Maggie changes to mimic her fiance's choices? | how she likes her eggs |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) MAGGIE (o.s.) It's a little... It's a little heavy... Help me, baby. Bob has no answer. He reaches a hand down. He yelps as Maggie pulls him down on top of her, out of frame. We HEAR them giggle and kiss. FISHER (cont'd) Remember, we are putting the "fun" back into formal. (to Ike) I just say that for the agency guys. I don't even know what that means. Now follow me. They stop walking. They start walking again. They stop at the coffee table and grab something to eat. He walks away. He follows him. We hear Fisher laugh. IKE (V.O.; cont'd) I'm going to make this work, Fish. I'm going to do it! Ike's car drives into Hale, passing a billboard reading, "Welcome to Hale." He now walks down the charming main artery of the town, looking exactly like what he is: a cynical New York out of his element on sunny Main Street, USA. KIDS ride by on bikes, streaming balloons behind them. A balloon hits Ike on the face. As he crosses the street, he mutters into his tape recorder: Flags hang on all the storefronts and the place sparkles with wholesome attitudes as PEOPLE greet each other familiarly. Ike comes to beauty parlor called "Curl Up and Dye". The place is doing business and crowded with WOMEN. Cindy rolls over in her chair, picks up her dog and rolls back to her station. Peggy sits in the chair. Maggie spins her around and around. JUST THEN. Ike enters the salon, taking off his sunglasses. Peggy hops off the chair. It's a little early in the game for Ike to be thrown off guard. Ike smiles down at his loafers and shrugs. groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a Good job, honey! But Maggie's whoop sails out above it all. Cory waves. But not at Peggy. He directs his delight at Maggie, who jumps up and down by the dugout. Ike looks between Cory, Maggie and finally, Peggy. Peggy jerks her waving hand back down to her side and sits down. Ike pretends not to have noticed. The two watch as Maggie and Cory smile at each other. Next BATTER hits one to deep left field and it lands in the grave yard. Cory scores, greeted by Maggie. Ike and Peggy watch as Cory and Maggie belly-bump and high-five each other in celebration of Cory's play. No looks at Peggy. Ike keeps an empathetic silence, seeing that Peggy is truly hurt. PEGGY (cont'd) I'll be back in a second. Suddenly, Peggy stands, pushes past him and runs down the steps. Maggie looks up just in time to catch Peggy's exit. Ike pulls his tape recorder out of his pocket and starts speaking into it. Maggie shoots Ike an accusing look, walks up to him in the bleachers and sits next to him. Ike does an on-the-button imitation of Maggie jumping excitedly at Cory. Now Maggie sees what he's getting at. Ike walks away. Alone, Maggie tries to seem enthused. Maggie moves up the stairs towards Ike's room. She begins ripping many of other post-it off the picture frame. MAGGIE (cont'd) (as she takes post-its) Rude... She's ripping them down, fast and furious, then shoves them in her shoulder bag. MAGGIE (cont'd) Thief! THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to the bathroom, and shuts and locks the door. Just as Ike enters, he sniffs and looks around the | When does Ike confront Maggie about what she does in her relationships? | After he defends her at her pre-wedding celebration to Bob. |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a | What happens between Ike and Maggie after Bob walks her down the isle? | A passionate kiss |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) Good job, honey! But Maggie's whoop sails out above it all. Cory waves. But not at Peggy. He directs his delight at Maggie, who jumps up and down by the dugout. Ike looks between Cory, Maggie and finally, Peggy. Peggy jerks her waving hand back down to her side and sits down. Ike pretends not to have noticed. The two watch as Maggie and Cory smile at each other. Next BATTER hits one to deep left field and it lands in the grave yard. Cory scores, greeted by Maggie. Ike and Peggy watch as Cory and Maggie belly-bump and high-five each other in celebration of Cory's play. No looks at Peggy. Ike keeps an empathetic silence, seeing that Peggy is truly hurt. PEGGY (cont'd) I'll be back in a second. Suddenly, Peggy stands, pushes past him and runs down the steps. Maggie looks up just in time to catch Peggy's exit. Ike pulls his tape recorder out of his pocket and starts speaking into it. Maggie shoots Ike an accusing look, walks up to him in the bleachers and sits next to him. Ike does an on-the-button imitation of Maggie jumping excitedly at Cory. Now Maggie sees what he's getting at. Ike walks away. Alone, Maggie tries to seem enthused. Maggie moves up the stairs towards Ike's room. She begins ripping many of other post-it off the picture frame. MAGGIE (cont'd) (as she takes post-its) Rude... She's ripping them down, fast and furious, then shoves them in her shoulder bag. MAGGIE (cont'd) Thief! THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to the bathroom, and shuts and locks the door. Just as Ike enters, he sniffs and looks around the pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a | How does Maggie escape from Ike when she leaves him standing at the alter? | She hitches a ride on a fedex truck. |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. couch. IKE (cont'd) I think the most anybody can honestly say is, "Look..." (sits on the arm of the couch) "I guarantee that we'll have tough times. I guarantee that at some point one or both of us will want to get out of this thing. But I also guarantee that if I don't ask you to be mine, I'll regret it for the rest of my life. Because I know in my heart -- you're the only one for me" Maggie stares at Ike for a beat. His words have taken a little bit of her breath away. She covers. She moves from the fireplace to a chair and sits. MAGGIE (cont'd) I'd like it better on a scoreboard. (lightly) Is that how you proposed when you asked your wife to marry you? Ike is taken aback. MAGGIE (cont'd) Don't look so surprised, you've got divorce written all over you. Ike takes a swallow of cappuccino. Ike is restless. He stands up. Ike puts down his cup of coffee, gets his tape recorder and sits close to Maggie. Maggie move to TV. She picks up Ike's stolen post-it notes and her wedding video on top of the TV, and goes to the front door. MAGGIE (cont'd) I'll just need one more day to make sure your check clears. A spectacular dress fills the small window. It's beautiful, romantic, sexy. Maggie and Ike can be seen in the reflection. Maggie gives Ike a smile that lights up the sky. They go inside. The flower girl sees Maggie and runs and hides behind Polly. Mrs. Whittenmeyer comes forward to greet Maggie. Maggie leads her to the front window. She points to the dress. She smiles back to Mrs. Whittenmeyer, expecting So what do you think? Ike stares back at her, the tickle of suspicion creeping up his spine. Maggie swivels his chair so that Ike faces the mirror. Ike looks at his brightly colored hair. Ike stares at his hair in total confusion. With icy calm, Ike rises from his chair and primps the end of his hair as if giving it the finishing touches. Then he sees his defaced newspaper clipping and all becomes clear. He picks up the article and shows it to everyone. Ike does a slow burn. Ike turns and puts the clipping up on the mirror. IKE (cont'd) (to Peggy) My jacket, please. Peggy hands him his jacket. IKE (cont'd) (sarcastically) Thank you. Ike moves toward the door. He spots Pete. IKE (cont'd) (putting on jacket; to Pete) Excuse me, Pete, do you know a place that sells shampoo... Strong shampoo? Ike smiles at Maggie and exits. She puts on her sunglasses. He walks the other way. She stops walking and turns to Ike. Ike walks back to Maggie. PASSERSBY stare at Ike's hair and giggle. He stares at her for a beat, stung by her words. Maggie walks away. Ike walks a few steps and stops at a KID on a bike. Kid agrees. Ike puts the hat on and starts to cross the street. An OLD WOMAN walks by and hits him with a newspaper. Ike is stunned. Te family dog, Skipper, sits near a ceramic dog table. Maggie smiles as she walks in the front door and puts down her tool box and bag. Maggie enters the parlor to see Ike smiling evilly from his seat on the couch. IKE (cont'd) (innocently) Hello, Maggie. I just came by to apologize to | Who does Ike find Maggie talking to when she shows up unexpectly? | His cat |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and | What was Maggie's explanation for leaving Ike at the alter? | He understood her, but she didn't understand herself. |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a couch. IKE (cont'd) I think the most anybody can honestly say is, "Look..." (sits on the arm of the couch) "I guarantee that we'll have tough times. I guarantee that at some point one or both of us will want to get out of this thing. But I also guarantee that if I don't ask you to be mine, I'll regret it for the rest of my life. Because I know in my heart -- you're the only one for me" Maggie stares at Ike for a beat. His words have taken a little bit of her breath away. She covers. She moves from the fireplace to a chair and sits. MAGGIE (cont'd) I'd like it better on a scoreboard. (lightly) Is that how you proposed when you asked your wife to marry you? Ike is taken aback. MAGGIE (cont'd) Don't look so surprised, you've got divorce written all over you. Ike takes a swallow of cappuccino. Ike is restless. He stands up. Ike puts down his cup of coffee, gets his tape recorder and sits close to Maggie. Maggie move to TV. She picks up Ike's stolen post-it notes and her wedding video on top of the TV, and goes to the front door. MAGGIE (cont'd) I'll just need one more day to make sure your check clears. A spectacular dress fills the small window. It's beautiful, romantic, sexy. Maggie and Ike can be seen in the reflection. Maggie gives Ike a smile that lights up the sky. They go inside. The flower girl sees Maggie and runs and hides behind Polly. Mrs. Whittenmeyer comes forward to greet Maggie. Maggie leads her to the front window. She points to the dress. She smiles back to Mrs. Whittenmeyer, expecting | What kind of ceremony did Maggie and Ike eventually have? | a private one |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and It's a Fall after-noon. A SUDDEN POUNDING OF GALLOPING HOOVES breaks the peace and... A HORSE and RIDER burst between the rows of corn into the meadow. They are running for their lives. The horse is frothing and wild-eyed, like the bride, who turns to look behind her in terror. The horse's labored breathing mingles with Maggie's panicked gasps. We see a WEDDING BOUQUET fly into a ditch as the horse thunders on. Maggie clings to the reins. She looks as though she is running from the devil himself. Ike walks out of his apartment building talking on cell phone. IKE (cont'd) What do you think? Good idea, right? Boring, down to death, pointless -- It sucks. IKE (cont'd) If you guys are here any longer, they're gonna make you sign a lease. Ike turns and walks down the street, talking into cell phone. He spots a RICH LADY with tons of diamonds getting out of a Limousine, talking to a CHAUFFEUR. He goes up to her. IKE (cont'd) Excuse me. I was thinking of doing an article on limousines. What would you say to people who never had a chance to drive in a limo? They walk up to her DOORMAN. Ike walks off. They stare at him as he goes. Ike continues walking now in the full panic of writer's block. He pleads into his friend's answering machine as he walks. IKE (cont'd) (into phone) I just could use someone to toss it back and forth with for a few minutes, get the juice flowing, help me. I have an hour and twenty-seven minutes and fifty-two seconds. Hello? He walks away from the t-shirt table towards the bar. The Vendor calls out to him. Ike enters up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. look. He smiles back. Now we see Maggie come down the aisle, then walk past the altar. We see Maggie move away another aisle and out of the church. SHOCKED WEDDING GUESTS rise in horror, as she runs from this first wedding. She drags the train boy up the second aisle as she leaves. Ike hangs up. He gets up to pick up the remote and then sits back down to watch. The tape fast-forwards to the next wedding. Now Ike is looking at a much more relaxed, hipper, backyard wedding. It says, "Gill Chavez Wedding". He hits the fast-forward button (sometimes slowing down). Gill is waiting on the platform with a rock combo playing Grateful Dead-type music. He makes an introductory speech. Maggie steps out onto the back porch. She's beautiful in a hippie-type wedding ensemble. She walks with her father to a trampoline. We can see her tattoo. She jumps on the trampoline, then dives into the crowd. They watch her and body surf her over their heads to the back fence. As she hits the stage, she looks at Peggy and Gill, then decides to go. She jumps off the stage and runs up to a passing GUY on a dirt bike. She jumps on and turns and waves as she rides away. During the video, Ike scribbles: "Gill Chavez". Maggie goes off on dirt bike. The tape fast-forwards to the last of Maggie's fiascoes. Maggie has kicked it in the shins. It rears and bolts, galloping off with the bride. Ike FREEZE FRAMES the tape on an image of Maggie, hair blowing. Although she is panic-stricken, her soul seems to shine through in tat single | Who proposed for the wedding that actually took place? | Maggie |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) Good job, honey! But Maggie's whoop sails out above it all. Cory waves. But not at Peggy. He directs his delight at Maggie, who jumps up and down by the dugout. Ike looks between Cory, Maggie and finally, Peggy. Peggy jerks her waving hand back down to her side and sits down. Ike pretends not to have noticed. The two watch as Maggie and Cory smile at each other. Next BATTER hits one to deep left field and it lands in the grave yard. Cory scores, greeted by Maggie. Ike and Peggy watch as Cory and Maggie belly-bump and high-five each other in celebration of Cory's play. No looks at Peggy. Ike keeps an empathetic silence, seeing that Peggy is truly hurt. PEGGY (cont'd) I'll be back in a second. Suddenly, Peggy stands, pushes past him and runs down the steps. Maggie looks up just in time to catch Peggy's exit. Ike pulls his tape recorder out of his pocket and starts speaking into it. Maggie shoots Ike an accusing look, walks up to him in the bleachers and sits next to him. Ike does an on-the-button imitation of Maggie jumping excitedly at Cory. Now Maggie sees what he's getting at. Ike walks away. Alone, Maggie tries to seem enthused. Maggie moves up the stairs towards Ike's room. She begins ripping many of other post-it off the picture frame. MAGGIE (cont'd) (as she takes post-its) Rude... She's ripping them down, fast and furious, then shoves them in her shoulder bag. MAGGIE (cont'd) Thief! THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to the bathroom, and shuts and locks the door. Just as Ike enters, he sniffs and looks around the beat. Brian moves away. Maggie follows and sits in a nearby pew. A woman, MRS. MURPHY, rushes in. The woman goes into the confessional booth to wait. Brian sits next to Maggie. She turns to rush out, then stops herself. She moves to the confessional, knocks, then speaks to Mrs. Murphy. MAGGIE (cont'd) Excuse me, sorry, forgot my purse. Good luck. Maggie closes the booth curtain and turns to Brian. MAGGIE (cont'd) Wait -- what was the ridiculous question he asked? Brian smiles mischievously. She starts to go, then stops in her tracks as she hears: Maggie looks at Brian. Suddenly, she remembers too. And she scampers out. Brian goes back into the confessional. A CRASH, coming from the nearby back room, we hear loud muttering in Spanish, then out stumbles GILL CHAVEZ, 34, wearing a grease- stained Grateful Dead tie-dyed T-shirt. He grins triumphantly, worshipfully cradling a CASSETTE TAPE in his hands. Maggie regards her former fiance with patient warmth. Gill looks up and gives Maggie a fond, hazy smile. He pulls out the cassette from its case. It's broken. The tape is dangling from the cassette. GILL (cont'd) (disappointed) Oh, I'll play it for you. Gill picks up an electric GUITAR and starts to play. Suddenly, a loud CHUCKLING emanates from the car overhead. MAGGIE (cont'd) What was that? Maggie stops Gill from playing. She shoots her ex an angry glare and moves a lever on the shop wall. With a HUM, the car descends. As the hydraulic lift slows, the car is lowered, revealing Ike sitting in the driver's seat. He has been enjoying the photograph he's holding. Maggie swipes for the photo, but Ike is faster at pulling it away. Gill takes off his guitar and couch. IKE (cont'd) I think the most anybody can honestly say is, "Look..." (sits on the arm of the couch) "I guarantee that we'll have tough times. I guarantee that at some point one or both of us will want to get out of this thing. But I also guarantee that if I don't ask you to be mine, I'll regret it for the rest of my life. Because I know in my heart -- you're the only one for me" Maggie stares at Ike for a beat. His words have taken a little bit of her breath away. She covers. She moves from the fireplace to a chair and sits. MAGGIE (cont'd) I'd like it better on a scoreboard. (lightly) Is that how you proposed when you asked your wife to marry you? Ike is taken aback. MAGGIE (cont'd) Don't look so surprised, you've got divorce written all over you. Ike takes a swallow of cappuccino. Ike is restless. He stands up. Ike puts down his cup of coffee, gets his tape recorder and sits close to Maggie. Maggie move to TV. She picks up Ike's stolen post-it notes and her wedding video on top of the TV, and goes to the front door. MAGGIE (cont'd) I'll just need one more day to make sure your check clears. A spectacular dress fills the small window. It's beautiful, romantic, sexy. Maggie and Ike can be seen in the reflection. Maggie gives Ike a smile that lights up the sky. They go inside. The flower girl sees Maggie and runs and hides behind Polly. Mrs. Whittenmeyer comes forward to greet Maggie. Maggie leads her to the front window. She points to the dress. She smiles back to Mrs. Whittenmeyer, expecting | How many men has Maggie left at the alter? | Three |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a Good job, honey! But Maggie's whoop sails out above it all. Cory waves. But not at Peggy. He directs his delight at Maggie, who jumps up and down by the dugout. Ike looks between Cory, Maggie and finally, Peggy. Peggy jerks her waving hand back down to her side and sits down. Ike pretends not to have noticed. The two watch as Maggie and Cory smile at each other. Next BATTER hits one to deep left field and it lands in the grave yard. Cory scores, greeted by Maggie. Ike and Peggy watch as Cory and Maggie belly-bump and high-five each other in celebration of Cory's play. No looks at Peggy. Ike keeps an empathetic silence, seeing that Peggy is truly hurt. PEGGY (cont'd) I'll be back in a second. Suddenly, Peggy stands, pushes past him and runs down the steps. Maggie looks up just in time to catch Peggy's exit. Ike pulls his tape recorder out of his pocket and starts speaking into it. Maggie shoots Ike an accusing look, walks up to him in the bleachers and sits next to him. Ike does an on-the-button imitation of Maggie jumping excitedly at Cory. Now Maggie sees what he's getting at. Ike walks away. Alone, Maggie tries to seem enthused. Maggie moves up the stairs towards Ike's room. She begins ripping many of other post-it off the picture frame. MAGGIE (cont'd) (as she takes post-its) Rude... She's ripping them down, fast and furious, then shoves them in her shoulder bag. MAGGIE (cont'd) Thief! THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to the bathroom, and shuts and locks the door. Just as Ike enters, he sniffs and looks around the pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. | Where does Ike travel to initially interview Maggie? | Hale, Maryland |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the the bar. The Woman drops the shirt she was holding and walks off with her children. The T-shirt Vendor goes back to selling his shirts. The Man continues speaking as Ike and the woman continue their conversation. The Woman gets up and begins throwing darts. She starts throwing darts. The Woman goes to her bar stool, gathering her bag and leaves a tip for the Bartender. She whacks him with a newspaper, then shakes his hand. The Woman leaves the bar. The phone rings. Te Bartender answers it as Ike sits back on his bar stool. Ike grabs the woman's magazine that she left on the bar and starts glancing at it. The Man at the bar has heard the whole thing. MAN (cont'd) I said, I've seen much worse. Ike looks at the Man with reservation. The Man is George Swilling. Ike gets up and moves to the dart board. He removes the darts. MAN (cont'd) I've witnessed far more treacherous and nefarious exits than that. At least she castigated you in private. Ike turns slightly, giving the man his back. IKE (cont'd) Kevin, you've got some napkins? The Bartender gives him cocktail napkins and a pen. Ike starts making notes. Ike looks up from his writing. The Man gets up and starts throwing darts. Ike moves to the Bartender and pays him. Both Ike and Bartender turn and stare. Ike turns and heads for the door. The Man calls after him, getting up from his stool without stopping his enthusiastic story. MAN (cont'd) Adios. Plows down the aisle, knocking old ladies out of her way like the running of the bulls at Pamplona. And guess what? Ike stops in his tracks. He turns Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. Good job, honey! But Maggie's whoop sails out above it all. Cory waves. But not at Peggy. He directs his delight at Maggie, who jumps up and down by the dugout. Ike looks between Cory, Maggie and finally, Peggy. Peggy jerks her waving hand back down to her side and sits down. Ike pretends not to have noticed. The two watch as Maggie and Cory smile at each other. Next BATTER hits one to deep left field and it lands in the grave yard. Cory scores, greeted by Maggie. Ike and Peggy watch as Cory and Maggie belly-bump and high-five each other in celebration of Cory's play. No looks at Peggy. Ike keeps an empathetic silence, seeing that Peggy is truly hurt. PEGGY (cont'd) I'll be back in a second. Suddenly, Peggy stands, pushes past him and runs down the steps. Maggie looks up just in time to catch Peggy's exit. Ike pulls his tape recorder out of his pocket and starts speaking into it. Maggie shoots Ike an accusing look, walks up to him in the bleachers and sits next to him. Ike does an on-the-button imitation of Maggie jumping excitedly at Cory. Now Maggie sees what he's getting at. Ike walks away. Alone, Maggie tries to seem enthused. Maggie moves up the stairs towards Ike's room. She begins ripping many of other post-it off the picture frame. MAGGIE (cont'd) (as she takes post-its) Rude... She's ripping them down, fast and furious, then shoves them in her shoulder bag. MAGGIE (cont'd) Thief! THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to the bathroom, and shuts and locks the door. Just as Ike enters, he sniffs and looks around the | What is the name of Ike's cate? | Italics |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. Good job, honey! But Maggie's whoop sails out above it all. Cory waves. But not at Peggy. He directs his delight at Maggie, who jumps up and down by the dugout. Ike looks between Cory, Maggie and finally, Peggy. Peggy jerks her waving hand back down to her side and sits down. Ike pretends not to have noticed. The two watch as Maggie and Cory smile at each other. Next BATTER hits one to deep left field and it lands in the grave yard. Cory scores, greeted by Maggie. Ike and Peggy watch as Cory and Maggie belly-bump and high-five each other in celebration of Cory's play. No looks at Peggy. Ike keeps an empathetic silence, seeing that Peggy is truly hurt. PEGGY (cont'd) I'll be back in a second. Suddenly, Peggy stands, pushes past him and runs down the steps. Maggie looks up just in time to catch Peggy's exit. Ike pulls his tape recorder out of his pocket and starts speaking into it. Maggie shoots Ike an accusing look, walks up to him in the bleachers and sits next to him. Ike does an on-the-button imitation of Maggie jumping excitedly at Cory. Now Maggie sees what he's getting at. Ike walks away. Alone, Maggie tries to seem enthused. Maggie moves up the stairs towards Ike's room. She begins ripping many of other post-it off the picture frame. MAGGIE (cont'd) (as she takes post-its) Rude... She's ripping them down, fast and furious, then shoves them in her shoulder bag. MAGGIE (cont'd) Thief! THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to the bathroom, and shuts and locks the door. Just as Ike enters, he sniffs and looks around the up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. | What food changes in every relationship Maggie is in? | Eggs |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) MAGGIE (o.s.) It's a little... It's a little heavy... Help me, baby. Bob has no answer. He reaches a hand down. He yelps as Maggie pulls him down on top of her, out of frame. We HEAR them giggle and kiss. FISHER (cont'd) Remember, we are putting the "fun" back into formal. (to Ike) I just say that for the agency guys. I don't even know what that means. Now follow me. They stop walking. They start walking again. They stop at the coffee table and grab something to eat. He walks away. He follows him. We hear Fisher laugh. IKE (V.O.; cont'd) I'm going to make this work, Fish. I'm going to do it! Ike's car drives into Hale, passing a billboard reading, "Welcome to Hale." He now walks down the charming main artery of the town, looking exactly like what he is: a cynical New York out of his element on sunny Main Street, USA. KIDS ride by on bikes, streaming balloons behind them. A balloon hits Ike on the face. As he crosses the street, he mutters into his tape recorder: Flags hang on all the storefronts and the place sparkles with wholesome attitudes as PEOPLE greet each other familiarly. Ike comes to beauty parlor called "Curl Up and Dye". The place is doing business and crowded with WOMEN. Cindy rolls over in her chair, picks up her dog and rolls back to her station. Peggy sits in the chair. Maggie spins her around and around. JUST THEN. Ike enters the salon, taking off his sunglasses. Peggy hops off the chair. It's a little early in the game for Ike to be thrown off guard. Ike smiles down at his loafers and shrugs. groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. | When and where do Ike and Maggie first kiss? | At the alter |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the the bar. The Woman drops the shirt she was holding and walks off with her children. The T-shirt Vendor goes back to selling his shirts. The Man continues speaking as Ike and the woman continue their conversation. The Woman gets up and begins throwing darts. She starts throwing darts. The Woman goes to her bar stool, gathering her bag and leaves a tip for the Bartender. She whacks him with a newspaper, then shakes his hand. The Woman leaves the bar. The phone rings. Te Bartender answers it as Ike sits back on his bar stool. Ike grabs the woman's magazine that she left on the bar and starts glancing at it. The Man at the bar has heard the whole thing. MAN (cont'd) I said, I've seen much worse. Ike looks at the Man with reservation. The Man is George Swilling. Ike gets up and moves to the dart board. He removes the darts. MAN (cont'd) I've witnessed far more treacherous and nefarious exits than that. At least she castigated you in private. Ike turns slightly, giving the man his back. IKE (cont'd) Kevin, you've got some napkins? The Bartender gives him cocktail napkins and a pen. Ike starts making notes. Ike looks up from his writing. The Man gets up and starts throwing darts. Ike moves to the Bartender and pays him. Both Ike and Bartender turn and stare. Ike turns and heads for the door. The Man calls after him, getting up from his stool without stopping his enthusiastic story. MAN (cont'd) Adios. Plows down the aisle, knocking old ladies out of her way like the running of the bulls at Pamplona. And guess what? Ike stops in his tracks. He turns sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) It's a Fall after-noon. A SUDDEN POUNDING OF GALLOPING HOOVES breaks the peace and... A HORSE and RIDER burst between the rows of corn into the meadow. They are running for their lives. The horse is frothing and wild-eyed, like the bride, who turns to look behind her in terror. The horse's labored breathing mingles with Maggie's panicked gasps. We see a WEDDING BOUQUET fly into a ditch as the horse thunders on. Maggie clings to the reins. She looks as though she is running from the devil himself. Ike walks out of his apartment building talking on cell phone. IKE (cont'd) What do you think? Good idea, right? Boring, down to death, pointless -- It sucks. IKE (cont'd) If you guys are here any longer, they're gonna make you sign a lease. Ike turns and walks down the street, talking into cell phone. He spots a RICH LADY with tons of diamonds getting out of a Limousine, talking to a CHAUFFEUR. He goes up to her. IKE (cont'd) Excuse me. I was thinking of doing an article on limousines. What would you say to people who never had a chance to drive in a limo? They walk up to her DOORMAN. Ike walks off. They stare at him as he goes. Ike continues walking now in the full panic of writer's block. He pleads into his friend's answering machine as he walks. IKE (cont'd) (into phone) I just could use someone to toss it back and forth with for a few minutes, get the juice flowing, help me. I have an hour and twenty-seven minutes and fifty-two seconds. Hello? He walks away from the t-shirt table towards the bar. The Vendor calls out to him. Ike enters pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. | Why does Ike get fired? | not checking source |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the the bar. The Woman drops the shirt she was holding and walks off with her children. The T-shirt Vendor goes back to selling his shirts. The Man continues speaking as Ike and the woman continue their conversation. The Woman gets up and begins throwing darts. She starts throwing darts. The Woman goes to her bar stool, gathering her bag and leaves a tip for the Bartender. She whacks him with a newspaper, then shakes his hand. The Woman leaves the bar. The phone rings. Te Bartender answers it as Ike sits back on his bar stool. Ike grabs the woman's magazine that she left on the bar and starts glancing at it. The Man at the bar has heard the whole thing. MAN (cont'd) I said, I've seen much worse. Ike looks at the Man with reservation. The Man is George Swilling. Ike gets up and moves to the dart board. He removes the darts. MAN (cont'd) I've witnessed far more treacherous and nefarious exits than that. At least she castigated you in private. Ike turns slightly, giving the man his back. IKE (cont'd) Kevin, you've got some napkins? The Bartender gives him cocktail napkins and a pen. Ike starts making notes. Ike looks up from his writing. The Man gets up and starts throwing darts. Ike moves to the Bartender and pays him. Both Ike and Bartender turn and stare. Ike turns and heads for the door. The Man calls after him, getting up from his stool without stopping his enthusiastic story. MAN (cont'd) Adios. Plows down the aisle, knocking old ladies out of her way like the running of the bulls at Pamplona. And guess what? Ike stops in his tracks. He turns pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and beat. Brian moves away. Maggie follows and sits in a nearby pew. A woman, MRS. MURPHY, rushes in. The woman goes into the confessional booth to wait. Brian sits next to Maggie. She turns to rush out, then stops herself. She moves to the confessional, knocks, then speaks to Mrs. Murphy. MAGGIE (cont'd) Excuse me, sorry, forgot my purse. Good luck. Maggie closes the booth curtain and turns to Brian. MAGGIE (cont'd) Wait -- what was the ridiculous question he asked? Brian smiles mischievously. She starts to go, then stops in her tracks as she hears: Maggie looks at Brian. Suddenly, she remembers too. And she scampers out. Brian goes back into the confessional. A CRASH, coming from the nearby back room, we hear loud muttering in Spanish, then out stumbles GILL CHAVEZ, 34, wearing a grease- stained Grateful Dead tie-dyed T-shirt. He grins triumphantly, worshipfully cradling a CASSETTE TAPE in his hands. Maggie regards her former fiance with patient warmth. Gill looks up and gives Maggie a fond, hazy smile. He pulls out the cassette from its case. It's broken. The tape is dangling from the cassette. GILL (cont'd) (disappointed) Oh, I'll play it for you. Gill picks up an electric GUITAR and starts to play. Suddenly, a loud CHUCKLING emanates from the car overhead. MAGGIE (cont'd) What was that? Maggie stops Gill from playing. She shoots her ex an angry glare and moves a lever on the shop wall. With a HUM, the car descends. As the hydraulic lift slows, the car is lowered, revealing Ike sitting in the driver's seat. He has been enjoying the photograph he's holding. Maggie swipes for the photo, but Ike is faster at pulling it away. Gill takes off his guitar and | What does Bob do for a living? | He is a high school football coach. |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. MAGGIE (o.s.) It's a little... It's a little heavy... Help me, baby. Bob has no answer. He reaches a hand down. He yelps as Maggie pulls him down on top of her, out of frame. We HEAR them giggle and kiss. FISHER (cont'd) Remember, we are putting the "fun" back into formal. (to Ike) I just say that for the agency guys. I don't even know what that means. Now follow me. They stop walking. They start walking again. They stop at the coffee table and grab something to eat. He walks away. He follows him. We hear Fisher laugh. IKE (V.O.; cont'd) I'm going to make this work, Fish. I'm going to do it! Ike's car drives into Hale, passing a billboard reading, "Welcome to Hale." He now walks down the charming main artery of the town, looking exactly like what he is: a cynical New York out of his element on sunny Main Street, USA. KIDS ride by on bikes, streaming balloons behind them. A balloon hits Ike on the face. As he crosses the street, he mutters into his tape recorder: Flags hang on all the storefronts and the place sparkles with wholesome attitudes as PEOPLE greet each other familiarly. Ike comes to beauty parlor called "Curl Up and Dye". The place is doing business and crowded with WOMEN. Cindy rolls over in her chair, picks up her dog and rolls back to her station. Peggy sits in the chair. Maggie spins her around and around. JUST THEN. Ike enters the salon, taking off his sunglasses. Peggy hops off the chair. It's a little early in the game for Ike to be thrown off guard. Ike smiles down at his loafers and shrugs. up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. | How do we know Maggie is serious about Ike? | She kisses him |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. | What kind of wedding to Maggie and Ike have? | A small, private ceremony. |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and MAGGIE (o.s.) It's a little... It's a little heavy... Help me, baby. Bob has no answer. He reaches a hand down. He yelps as Maggie pulls him down on top of her, out of frame. We HEAR them giggle and kiss. FISHER (cont'd) Remember, we are putting the "fun" back into formal. (to Ike) I just say that for the agency guys. I don't even know what that means. Now follow me. They stop walking. They start walking again. They stop at the coffee table and grab something to eat. He walks away. He follows him. We hear Fisher laugh. IKE (V.O.; cont'd) I'm going to make this work, Fish. I'm going to do it! Ike's car drives into Hale, passing a billboard reading, "Welcome to Hale." He now walks down the charming main artery of the town, looking exactly like what he is: a cynical New York out of his element on sunny Main Street, USA. KIDS ride by on bikes, streaming balloons behind them. A balloon hits Ike on the face. As he crosses the street, he mutters into his tape recorder: Flags hang on all the storefronts and the place sparkles with wholesome attitudes as PEOPLE greet each other familiarly. Ike comes to beauty parlor called "Curl Up and Dye". The place is doing business and crowded with WOMEN. Cindy rolls over in her chair, picks up her dog and rolls back to her station. Peggy sits in the chair. Maggie spins her around and around. JUST THEN. Ike enters the salon, taking off his sunglasses. Peggy hops off the chair. It's a little early in the game for Ike to be thrown off guard. Ike smiles down at his loafers and shrugs. Good job, honey! But Maggie's whoop sails out above it all. Cory waves. But not at Peggy. He directs his delight at Maggie, who jumps up and down by the dugout. Ike looks between Cory, Maggie and finally, Peggy. Peggy jerks her waving hand back down to her side and sits down. Ike pretends not to have noticed. The two watch as Maggie and Cory smile at each other. Next BATTER hits one to deep left field and it lands in the grave yard. Cory scores, greeted by Maggie. Ike and Peggy watch as Cory and Maggie belly-bump and high-five each other in celebration of Cory's play. No looks at Peggy. Ike keeps an empathetic silence, seeing that Peggy is truly hurt. PEGGY (cont'd) I'll be back in a second. Suddenly, Peggy stands, pushes past him and runs down the steps. Maggie looks up just in time to catch Peggy's exit. Ike pulls his tape recorder out of his pocket and starts speaking into it. Maggie shoots Ike an accusing look, walks up to him in the bleachers and sits next to him. Ike does an on-the-button imitation of Maggie jumping excitedly at Cory. Now Maggie sees what he's getting at. Ike walks away. Alone, Maggie tries to seem enthused. Maggie moves up the stairs towards Ike's room. She begins ripping many of other post-it off the picture frame. MAGGIE (cont'd) (as she takes post-its) Rude... She's ripping them down, fast and furious, then shoves them in her shoulder bag. MAGGIE (cont'd) Thief! THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to the bathroom, and shuts and locks the door. Just as Ike enters, he sniffs and looks around the | A-Z How do we know that Maggie and Ike live happily ever after? | We see them playing in the snow. |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and beat. Brian moves away. Maggie follows and sits in a nearby pew. A woman, MRS. MURPHY, rushes in. The woman goes into the confessional booth to wait. Brian sits next to Maggie. She turns to rush out, then stops herself. She moves to the confessional, knocks, then speaks to Mrs. Murphy. MAGGIE (cont'd) Excuse me, sorry, forgot my purse. Good luck. Maggie closes the booth curtain and turns to Brian. MAGGIE (cont'd) Wait -- what was the ridiculous question he asked? Brian smiles mischievously. She starts to go, then stops in her tracks as she hears: Maggie looks at Brian. Suddenly, she remembers too. And she scampers out. Brian goes back into the confessional. A CRASH, coming from the nearby back room, we hear loud muttering in Spanish, then out stumbles GILL CHAVEZ, 34, wearing a grease- stained Grateful Dead tie-dyed T-shirt. He grins triumphantly, worshipfully cradling a CASSETTE TAPE in his hands. Maggie regards her former fiance with patient warmth. Gill looks up and gives Maggie a fond, hazy smile. He pulls out the cassette from its case. It's broken. The tape is dangling from the cassette. GILL (cont'd) (disappointed) Oh, I'll play it for you. Gill picks up an electric GUITAR and starts to play. Suddenly, a loud CHUCKLING emanates from the car overhead. MAGGIE (cont'd) What was that? Maggie stops Gill from playing. She shoots her ex an angry glare and moves a lever on the shop wall. With a HUM, the car descends. As the hydraulic lift slows, the car is lowered, revealing Ike sitting in the driver's seat. He has been enjoying the photograph he's holding. Maggie swipes for the photo, but Ike is faster at pulling it away. Gill takes off his guitar and Good job, honey! But Maggie's whoop sails out above it all. Cory waves. But not at Peggy. He directs his delight at Maggie, who jumps up and down by the dugout. Ike looks between Cory, Maggie and finally, Peggy. Peggy jerks her waving hand back down to her side and sits down. Ike pretends not to have noticed. The two watch as Maggie and Cory smile at each other. Next BATTER hits one to deep left field and it lands in the grave yard. Cory scores, greeted by Maggie. Ike and Peggy watch as Cory and Maggie belly-bump and high-five each other in celebration of Cory's play. No looks at Peggy. Ike keeps an empathetic silence, seeing that Peggy is truly hurt. PEGGY (cont'd) I'll be back in a second. Suddenly, Peggy stands, pushes past him and runs down the steps. Maggie looks up just in time to catch Peggy's exit. Ike pulls his tape recorder out of his pocket and starts speaking into it. Maggie shoots Ike an accusing look, walks up to him in the bleachers and sits next to him. Ike does an on-the-button imitation of Maggie jumping excitedly at Cory. Now Maggie sees what he's getting at. Ike walks away. Alone, Maggie tries to seem enthused. Maggie moves up the stairs towards Ike's room. She begins ripping many of other post-it off the picture frame. MAGGIE (cont'd) (as she takes post-its) Rude... She's ripping them down, fast and furious, then shoves them in her shoulder bag. MAGGIE (cont'd) Thief! THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to the bathroom, and shuts and locks the door. Just as Ike enters, he sniffs and looks around the | How many men has Maggie left at the altar? | three |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the the bar. The Woman drops the shirt she was holding and walks off with her children. The T-shirt Vendor goes back to selling his shirts. The Man continues speaking as Ike and the woman continue their conversation. The Woman gets up and begins throwing darts. She starts throwing darts. The Woman goes to her bar stool, gathering her bag and leaves a tip for the Bartender. She whacks him with a newspaper, then shakes his hand. The Woman leaves the bar. The phone rings. Te Bartender answers it as Ike sits back on his bar stool. Ike grabs the woman's magazine that she left on the bar and starts glancing at it. The Man at the bar has heard the whole thing. MAN (cont'd) I said, I've seen much worse. Ike looks at the Man with reservation. The Man is George Swilling. Ike gets up and moves to the dart board. He removes the darts. MAN (cont'd) I've witnessed far more treacherous and nefarious exits than that. At least she castigated you in private. Ike turns slightly, giving the man his back. IKE (cont'd) Kevin, you've got some napkins? The Bartender gives him cocktail napkins and a pen. Ike starts making notes. Ike looks up from his writing. The Man gets up and starts throwing darts. Ike moves to the Bartender and pays him. Both Ike and Bartender turn and stare. Ike turns and heads for the door. The Man calls after him, getting up from his stool without stopping his enthusiastic story. MAN (cont'd) Adios. Plows down the aisle, knocking old ladies out of her way like the running of the bulls at Pamplona. And guess what? Ike stops in his tracks. He turns sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. | What is Ike's full name? | Homer Eisenhower Graham |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a MAGGIE (o.s.) It's a little... It's a little heavy... Help me, baby. Bob has no answer. He reaches a hand down. He yelps as Maggie pulls him down on top of her, out of frame. We HEAR them giggle and kiss. FISHER (cont'd) Remember, we are putting the "fun" back into formal. (to Ike) I just say that for the agency guys. I don't even know what that means. Now follow me. They stop walking. They start walking again. They stop at the coffee table and grab something to eat. He walks away. He follows him. We hear Fisher laugh. IKE (V.O.; cont'd) I'm going to make this work, Fish. I'm going to do it! Ike's car drives into Hale, passing a billboard reading, "Welcome to Hale." He now walks down the charming main artery of the town, looking exactly like what he is: a cynical New York out of his element on sunny Main Street, USA. KIDS ride by on bikes, streaming balloons behind them. A balloon hits Ike on the face. As he crosses the street, he mutters into his tape recorder: Flags hang on all the storefronts and the place sparkles with wholesome attitudes as PEOPLE greet each other familiarly. Ike comes to beauty parlor called "Curl Up and Dye". The place is doing business and crowded with WOMEN. Cindy rolls over in her chair, picks up her dog and rolls back to her station. Peggy sits in the chair. Maggie spins her around and around. JUST THEN. Ike enters the salon, taking off his sunglasses. Peggy hops off the chair. It's a little early in the game for Ike to be thrown off guard. Ike smiles down at his loafers and shrugs. Good job, honey! But Maggie's whoop sails out above it all. Cory waves. But not at Peggy. He directs his delight at Maggie, who jumps up and down by the dugout. Ike looks between Cory, Maggie and finally, Peggy. Peggy jerks her waving hand back down to her side and sits down. Ike pretends not to have noticed. The two watch as Maggie and Cory smile at each other. Next BATTER hits one to deep left field and it lands in the grave yard. Cory scores, greeted by Maggie. Ike and Peggy watch as Cory and Maggie belly-bump and high-five each other in celebration of Cory's play. No looks at Peggy. Ike keeps an empathetic silence, seeing that Peggy is truly hurt. PEGGY (cont'd) I'll be back in a second. Suddenly, Peggy stands, pushes past him and runs down the steps. Maggie looks up just in time to catch Peggy's exit. Ike pulls his tape recorder out of his pocket and starts speaking into it. Maggie shoots Ike an accusing look, walks up to him in the bleachers and sits next to him. Ike does an on-the-button imitation of Maggie jumping excitedly at Cory. Now Maggie sees what he's getting at. Ike walks away. Alone, Maggie tries to seem enthused. Maggie moves up the stairs towards Ike's room. She begins ripping many of other post-it off the picture frame. MAGGIE (cont'd) (as she takes post-its) Rude... She's ripping them down, fast and furious, then shoves them in her shoulder bag. MAGGIE (cont'd) Thief! THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to the bathroom, and shuts and locks the door. Just as Ike enters, he sniffs and looks around the | Where does Ike find Maggie living with her family? | Hale, Maryland |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a beat. Brian moves away. Maggie follows and sits in a nearby pew. A woman, MRS. MURPHY, rushes in. The woman goes into the confessional booth to wait. Brian sits next to Maggie. She turns to rush out, then stops herself. She moves to the confessional, knocks, then speaks to Mrs. Murphy. MAGGIE (cont'd) Excuse me, sorry, forgot my purse. Good luck. Maggie closes the booth curtain and turns to Brian. MAGGIE (cont'd) Wait -- what was the ridiculous question he asked? Brian smiles mischievously. She starts to go, then stops in her tracks as she hears: Maggie looks at Brian. Suddenly, she remembers too. And she scampers out. Brian goes back into the confessional. A CRASH, coming from the nearby back room, we hear loud muttering in Spanish, then out stumbles GILL CHAVEZ, 34, wearing a grease- stained Grateful Dead tie-dyed T-shirt. He grins triumphantly, worshipfully cradling a CASSETTE TAPE in his hands. Maggie regards her former fiance with patient warmth. Gill looks up and gives Maggie a fond, hazy smile. He pulls out the cassette from its case. It's broken. The tape is dangling from the cassette. GILL (cont'd) (disappointed) Oh, I'll play it for you. Gill picks up an electric GUITAR and starts to play. Suddenly, a loud CHUCKLING emanates from the car overhead. MAGGIE (cont'd) What was that? Maggie stops Gill from playing. She shoots her ex an angry glare and moves a lever on the shop wall. With a HUM, the car descends. As the hydraulic lift slows, the car is lowered, revealing Ike sitting in the driver's seat. He has been enjoying the photograph he's holding. Maggie swipes for the photo, but Ike is faster at pulling it away. Gill takes off his guitar and up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. | What is Maggie's fourth fiancee's job? | football coach |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. MAGGIE (o.s.) It's a little... It's a little heavy... Help me, baby. Bob has no answer. He reaches a hand down. He yelps as Maggie pulls him down on top of her, out of frame. We HEAR them giggle and kiss. FISHER (cont'd) Remember, we are putting the "fun" back into formal. (to Ike) I just say that for the agency guys. I don't even know what that means. Now follow me. They stop walking. They start walking again. They stop at the coffee table and grab something to eat. He walks away. He follows him. We hear Fisher laugh. IKE (V.O.; cont'd) I'm going to make this work, Fish. I'm going to do it! Ike's car drives into Hale, passing a billboard reading, "Welcome to Hale." He now walks down the charming main artery of the town, looking exactly like what he is: a cynical New York out of his element on sunny Main Street, USA. KIDS ride by on bikes, streaming balloons behind them. A balloon hits Ike on the face. As he crosses the street, he mutters into his tape recorder: Flags hang on all the storefronts and the place sparkles with wholesome attitudes as PEOPLE greet each other familiarly. Ike comes to beauty parlor called "Curl Up and Dye". The place is doing business and crowded with WOMEN. Cindy rolls over in her chair, picks up her dog and rolls back to her station. Peggy sits in the chair. Maggie spins her around and around. JUST THEN. Ike enters the salon, taking off his sunglasses. Peggy hops off the chair. It's a little early in the game for Ike to be thrown off guard. Ike smiles down at his loafers and shrugs. couch. IKE (cont'd) I think the most anybody can honestly say is, "Look..." (sits on the arm of the couch) "I guarantee that we'll have tough times. I guarantee that at some point one or both of us will want to get out of this thing. But I also guarantee that if I don't ask you to be mine, I'll regret it for the rest of my life. Because I know in my heart -- you're the only one for me" Maggie stares at Ike for a beat. His words have taken a little bit of her breath away. She covers. She moves from the fireplace to a chair and sits. MAGGIE (cont'd) I'd like it better on a scoreboard. (lightly) Is that how you proposed when you asked your wife to marry you? Ike is taken aback. MAGGIE (cont'd) Don't look so surprised, you've got divorce written all over you. Ike takes a swallow of cappuccino. Ike is restless. He stands up. Ike puts down his cup of coffee, gets his tape recorder and sits close to Maggie. Maggie move to TV. She picks up Ike's stolen post-it notes and her wedding video on top of the TV, and goes to the front door. MAGGIE (cont'd) I'll just need one more day to make sure your check clears. A spectacular dress fills the small window. It's beautiful, romantic, sexy. Maggie and Ike can be seen in the reflection. Maggie gives Ike a smile that lights up the sky. They go inside. The flower girl sees Maggie and runs and hides behind Polly. Mrs. Whittenmeyer comes forward to greet Maggie. Maggie leads her to the front window. She points to the dress. She smiles back to Mrs. Whittenmeyer, expecting | What realization about Maggie's relationships does Ike make through her choice of eggs? | that she is changing herself to be like her fiancees each time. |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. | What does Bob do to Ike when he finds out Ike's feelings for Maggie? | punches him in the face. |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the It's a Fall after-noon. A SUDDEN POUNDING OF GALLOPING HOOVES breaks the peace and... A HORSE and RIDER burst between the rows of corn into the meadow. They are running for their lives. The horse is frothing and wild-eyed, like the bride, who turns to look behind her in terror. The horse's labored breathing mingles with Maggie's panicked gasps. We see a WEDDING BOUQUET fly into a ditch as the horse thunders on. Maggie clings to the reins. She looks as though she is running from the devil himself. Ike walks out of his apartment building talking on cell phone. IKE (cont'd) What do you think? Good idea, right? Boring, down to death, pointless -- It sucks. IKE (cont'd) If you guys are here any longer, they're gonna make you sign a lease. Ike turns and walks down the street, talking into cell phone. He spots a RICH LADY with tons of diamonds getting out of a Limousine, talking to a CHAUFFEUR. He goes up to her. IKE (cont'd) Excuse me. I was thinking of doing an article on limousines. What would you say to people who never had a chance to drive in a limo? They walk up to her DOORMAN. Ike walks off. They stare at him as he goes. Ike continues walking now in the full panic of writer's block. He pleads into his friend's answering machine as he walks. IKE (cont'd) (into phone) I just could use someone to toss it back and forth with for a few minutes, get the juice flowing, help me. I have an hour and twenty-seven minutes and fifty-two seconds. Hello? He walks away from the t-shirt table towards the bar. The Vendor calls out to him. Ike enters pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) | What kind of vehicle does Maggie hitch a ride on to get away from Ike on their wedding day? | a FedEx truck |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the the bar. The Woman drops the shirt she was holding and walks off with her children. The T-shirt Vendor goes back to selling his shirts. The Man continues speaking as Ike and the woman continue their conversation. The Woman gets up and begins throwing darts. She starts throwing darts. The Woman goes to her bar stool, gathering her bag and leaves a tip for the Bartender. She whacks him with a newspaper, then shakes his hand. The Woman leaves the bar. The phone rings. Te Bartender answers it as Ike sits back on his bar stool. Ike grabs the woman's magazine that she left on the bar and starts glancing at it. The Man at the bar has heard the whole thing. MAN (cont'd) I said, I've seen much worse. Ike looks at the Man with reservation. The Man is George Swilling. Ike gets up and moves to the dart board. He removes the darts. MAN (cont'd) I've witnessed far more treacherous and nefarious exits than that. At least she castigated you in private. Ike turns slightly, giving the man his back. IKE (cont'd) Kevin, you've got some napkins? The Bartender gives him cocktail napkins and a pen. Ike starts making notes. Ike looks up from his writing. The Man gets up and starts throwing darts. Ike moves to the Bartender and pays him. Both Ike and Bartender turn and stare. Ike turns and heads for the door. The Man calls after him, getting up from his stool without stopping his enthusiastic story. MAN (cont'd) Adios. Plows down the aisle, knocking old ladies out of her way like the running of the bulls at Pamplona. And guess what? Ike stops in his tracks. He turns sets it down. Maggie is conspicuously silent. GILL (cont'd) (looking worried) Mags? She tries to grab the photo again. Ike pulls it away. Maggie quickly turns around and pulls down the back of her shirt, revealing the top of her back and a pristine expanse of skin. No tattoo. MAGGIE (cont'd) (turning back around) Satisfied? Gill is still trying to grasp the meaning of this. Ike laughs. Maggie looks at him with rage. Gill dramatically pulls down the front of his t-shirt. There it is on Gill's chest: the rose tattoo. Maggie sighs, pained. Gill shows it to Ike. Ike looks at the tattoo. He shakes his head at Maggie. Maggie moves the lever on the wall again, sending Ike back up to the ceiling in the car. She grabs the photo from Ike and exits. Gill grabs his guitar and sits. GILL (cont'd) Hey, Ike, what would Jerry do? The hydraulic lift stops moving. Ike leans out. Ike sings and taps along in tempo on the side of the car as Gill sings and plays "Ripple". Maggie "CHUFFAS" with Peggy and moves on. Ike finds Maggie in the crowd and leaves Dennis. Before Peggy can protest, Maggie climbs down off the bleachers and goes and stands near the dugout near the rest of Cory's team. Ike comes up to Peggy. Ike indicates the seat next to Peggy. Ike sits down comfortably. He starts drinking it. ON THE FIELD, Cory is getting ready to steal third. IKE (cont'd) That your husband out there? Cory Phleming, a local radio announcer. Peggy takes a small sip off her soda. Cory dives in for third and makes it. The crowd goes wild. Peggy yells and jumps in. PEGGY (cont'd) So what do you think? Ike stares back at her, the tickle of suspicion creeping up his spine. Maggie swivels his chair so that Ike faces the mirror. Ike looks at his brightly colored hair. Ike stares at his hair in total confusion. With icy calm, Ike rises from his chair and primps the end of his hair as if giving it the finishing touches. Then he sees his defaced newspaper clipping and all becomes clear. He picks up the article and shows it to everyone. Ike does a slow burn. Ike turns and puts the clipping up on the mirror. IKE (cont'd) (to Peggy) My jacket, please. Peggy hands him his jacket. IKE (cont'd) (sarcastically) Thank you. Ike moves toward the door. He spots Pete. IKE (cont'd) (putting on jacket; to Pete) Excuse me, Pete, do you know a place that sells shampoo... Strong shampoo? Ike smiles at Maggie and exits. She puts on her sunglasses. He walks the other way. She stops walking and turns to Ike. Ike walks back to Maggie. PASSERSBY stare at Ike's hair and giggle. He stares at her for a beat, stung by her words. Maggie walks away. Ike walks a few steps and stops at a KID on a bike. Kid agrees. Ike puts the hat on and starts to cross the street. An OLD WOMAN walks by and hits him with a newspaper. Ike is stunned. Te family dog, Skipper, sits near a ceramic dog table. Maggie smiles as she walks in the front door and puts down her tool box and bag. Maggie enters the parlor to see Ike smiling evilly from his seat on the couch. IKE (cont'd) (innocently) Hello, Maggie. I just came by to apologize to MAGGIE (o.s.) It's a little... It's a little heavy... Help me, baby. Bob has no answer. He reaches a hand down. He yelps as Maggie pulls him down on top of her, out of frame. We HEAR them giggle and kiss. FISHER (cont'd) Remember, we are putting the "fun" back into formal. (to Ike) I just say that for the agency guys. I don't even know what that means. Now follow me. They stop walking. They start walking again. They stop at the coffee table and grab something to eat. He walks away. He follows him. We hear Fisher laugh. IKE (V.O.; cont'd) I'm going to make this work, Fish. I'm going to do it! Ike's car drives into Hale, passing a billboard reading, "Welcome to Hale." He now walks down the charming main artery of the town, looking exactly like what he is: a cynical New York out of his element on sunny Main Street, USA. KIDS ride by on bikes, streaming balloons behind them. A balloon hits Ike on the face. As he crosses the street, he mutters into his tape recorder: Flags hang on all the storefronts and the place sparkles with wholesome attitudes as PEOPLE greet each other familiarly. Ike comes to beauty parlor called "Curl Up and Dye". The place is doing business and crowded with WOMEN. Cindy rolls over in her chair, picks up her dog and rolls back to her station. Peggy sits in the chair. Maggie spins her around and around. JUST THEN. Ike enters the salon, taking off his sunglasses. Peggy hops off the chair. It's a little early in the game for Ike to be thrown off guard. Ike smiles down at his loafers and shrugs. | What is Ike's cat's name? | Italics |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. couch. IKE (cont'd) I think the most anybody can honestly say is, "Look..." (sits on the arm of the couch) "I guarantee that we'll have tough times. I guarantee that at some point one or both of us will want to get out of this thing. But I also guarantee that if I don't ask you to be mine, I'll regret it for the rest of my life. Because I know in my heart -- you're the only one for me" Maggie stares at Ike for a beat. His words have taken a little bit of her breath away. She covers. She moves from the fireplace to a chair and sits. MAGGIE (cont'd) I'd like it better on a scoreboard. (lightly) Is that how you proposed when you asked your wife to marry you? Ike is taken aback. MAGGIE (cont'd) Don't look so surprised, you've got divorce written all over you. Ike takes a swallow of cappuccino. Ike is restless. He stands up. Ike puts down his cup of coffee, gets his tape recorder and sits close to Maggie. Maggie move to TV. She picks up Ike's stolen post-it notes and her wedding video on top of the TV, and goes to the front door. MAGGIE (cont'd) I'll just need one more day to make sure your check clears. A spectacular dress fills the small window. It's beautiful, romantic, sexy. Maggie and Ike can be seen in the reflection. Maggie gives Ike a smile that lights up the sky. They go inside. The flower girl sees Maggie and runs and hides behind Polly. Mrs. Whittenmeyer comes forward to greet Maggie. Maggie leads her to the front window. She points to the dress. She smiles back to Mrs. Whittenmeyer, expecting up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. groom figure choices. Ike smiles at Maggie enigmatically as he picks up his order and heads for the door. He starts to leave with his bag. Mrs. Trout stops him. Maggie hands Mrs. Trout her bride and broom figures. Maggie looks at Mrs. Trout, suddenly nervous. She dashes out. Mrs. Trout imitates Ike bamming the bride and groom, laughing. Dennis runs on as Maggie continues toward her goal: Bob and Ike, standing together on the other side of the field. Ike smiles broadly atop of the sled as he sees Maggie approaching, looking mighty peeved. He nudges Bob and points to Maggie. Bob lights up at the sight of her. BOB (cont'd) Good job, gentlemen... Special teams. The football players move away from the sled. Bob moves to Maggie, leaves Ike alone. BOB (cont'd) (to Maggie) Hey, honey! Bob kisses and embraces Maggie. She doesn't see Ike immediately, then: Ike grins and shows Maggie the notes in his pocket. Bob grabs Maggie around the waist and smooches her adoringly. Maggie scowls at Ike. He nods, all charm. Ike leaves. Bob calls after him. Maggie is aghast. She stares at Bob. Ike joins in behind a line of peppy cheerleaders. Bob gives Maggie a big hug. Bob blows his whistle, then puts Maggie on the football sled. BOB (cont'd) I want you boys to take my princess on the ride of her life... Honey, tell 'em where you parked your car. Maggie screams as the boys push her down the football field. She tries to recall. Brian closes the confessional window and exits Brian leans into her confessional. She steps out to join him. He's a nice looking and gentle man. They regard each other for a | Why did Maggie run away from her wedding to Ike? | Because she didn't understand herself |
he writes out the check and hands it to her. Maggie looks at it and smile sweetly. IKE (cont'd) What's this over here? He puts his finger in the wrong hole of the machine. He puts his finger in the correct hole. She turns it on. The brushes rotate. He looks around and spots some gadgets and lamps on another table. He walks to them. IKE (cont'd) Amazing. Found industrial stuff. Willow lamp... Rasta lamp... He picks up one of the many logos on the counter. Each boasts a "MAG" logo. IKE (cont'd) Is this your preferred logo? Ike snores. Maggie hits him. MAGGIE (cont'd) (defensive) It was classic. Maggie hands Ike another ring. This one is in the shape of a Grateful Dead rose. MAGGIE (cont'd) Gill. Of course. He proposed at the tie-dye t-shirt stand at a Dead concert. It was very sweet until he hallucinated that the drum set was a blood-sucking space alien. Maggie hands Ike a third ring. It's in the shape of a butterfly and studded with multi-color gems. MAGGIE (cont'd) George. He proposed at a butterfly farm in St. Thomas. The ring was inside a cocoon. Now Maggie shows Ike the ring on her hand. It's a gold "#1" with a diamond set into the number. MAGGIE (cont'd) And here we are at Bob. He proposed during the seventh inning stretch... Ike touches her hand to examine the ring more closely. Her surprise at his touch shows on her face as she finishes her sentence. MAGGIE (cont'd) ... At an Oriole's game. She takes her hand down. Ike steps away. Ike picks up his cup of cappuccino and moves behind the couch. Ike moves back to the couch. IKE (cont'd) I think the most anybody can honestly say is, "Look..." (sits on the arm of the couch) "I guarantee that we'll have tough times. I guarantee that at some point one or both of us will want to get out of this thing. But I also guarantee that if I don't ask you to be mine, I'll regret it for the rest of my life. Because I know in my heart -- you're the only one for me" Maggie stares at Ike for a beat. His words have taken a little bit of her breath away. She covers. She moves from the fireplace to a chair and sits. MAGGIE (cont'd) I'd like it better on a scoreboard. (lightly) Is that how you proposed when you asked your wife to marry you? Ike is taken aback. MAGGIE (cont'd) Don't look so surprised, you've got divorce written all over you. Ike takes a swallow of cappuccino. Ike is restless. He stands up. Ike puts down his cup of coffee, gets his tape recorder and sits close to Maggie. Maggie move to TV. She picks up Ike's stolen post-it notes and her wedding video on top of the TV, and goes to the front door. MAGGIE (cont'd) I'll just need one more day to make sure your check clears. A spectacular dress fills the small window. It's beautiful, romantic, sexy. Maggie and Ike can be seen in the reflection. Maggie gives Ike a smile that lights up the sky. They go inside. The flower girl sees Maggie and runs and hides behind Polly. Mrs. Whittenmeyer comes forward to greet Maggie. Maggie leads her to the front window. She points to the dress. She smiles back to Mrs. Whittenmeyer, expecting up. He turns to her. Ike moves out to the balcony. After a moment, Maggie follows him. Ike has no response. MAGGIE (cont'd) I love eggs Benedict. I hate all the other kinds. MAGGIE (cont'd) ... I hate big weddings with everybody staring. I would like to get married on a weekday while everybody is at work. If I ride off into the sunset, I want my own horse. She returns to the balcony and hands him the box. IKE (cont'd) What's this? He opens it. It's her running shoes. Now she is glowing at him, shining with the full force of her. Maggie glances around and spots a DECK CHAIR, which she turns so it is facing the city lights. Then she softly says: MAGGIE (cont'd) If you could have a seat, please. Ike sits. Maggie takes the box from him and puts it aide. And then she gets down on one knee. Maggie smiles up at him. Ike tips his head back and covers his eyes with his hand. He smiles as he looks at Maggie. MAGGIE (cont'd) I love you, Homer Eisenhower Graham. Will you marry me? Ike swallows, overwhelmed, overjoyed, and scared shitless. Maggie hops cheerfully back to her feet. She gets off her knees and stands. MAGGIE (cont'd) I was hoping you'd say that. Ike takes her hands affectionately. Ike looks into Maggie's shining face and pauses. He gets up and motions with his hand for her to stay seated. He goes inside and turns on some music. The cat is sitting by the radio. He returns to the balcony and takes Maggie's hand. They start to dance a slow dance. pants and shirt. He walks to the bar and is greeted warmly by Lee. Maggie gets very flustered. PEGGY (cont'd) What are you doing? Maggie dances affectionately with Bob as Mr. Trout, tending bar, greets Ike. Ike leans into Maggie, enjoying the smell of her hair. She notices, but acts casual. Lou Trout stands with his glass raised. There are shouts of "Hear hear!" Walter roars. The laughter swells and swells, led by Walter. Walter gets a bit laugh. He goes again. WALTER (cont'd) Maggie may not be Hale's longest running joke... (under her breath) Maggie finishes the punchline along with his father. Uproarious laughter. Maggie looks terribly pained. Ike's had enough. He pushes himself to his feet. Walter is thrilled. He shushes the CROWD. WALTER (cont'd) Oh, look, Mr. Graham, how about a toast? Ike watches their reaction. The silence is deafening. All the guests stare at Maggie. Mortified, she holds back tears. She gets everyone up to hula. Band plays fast tune. Maggie walks through the CROWD down the steps and outside. Ike follows, but Peggy grabs a coat for her. Bob watches her go as Cory approaches. Bob rushes after Maggie. Ike exits. Then, Bob comes over. Cory comes over with Dennis to Bob and Peggy. BOB/PEGGY/CORY/ DENNIS CHUFFA: About Bart Starr and football. (Which keeps Bob from going outside to follow Maggie). Bob thinks about it. Maggie has no response. IKE (cont'd) -- Tell me something, do you really care about Mount Everest? He's laid her flat. Maggie can't speak. IKE (cont'd) Am I right? She fights back angry tears. ANGLE ON: Bob comes outside. Both Maggie and Ike are breathing hard. Bob hands the flower to Ike. Ike is shaking. Bob catches this and looks up to Ike. It is a moment of clean honesty between the men. He takes the boutonniere and puts it on Ike's lapel. BOB (cont'd) I'm glad it's you. Bob turns and leaves, going down a side staircase. Out of the corner of his eye, Ike sees a pictures of Christ on the wall. He leans into the picture and whispers. IKE (cont'd) Cover me. He walks into the chapel. Ike gives the ring to Fisher. The Pastor approaches Ike. Ike turns away and look out over the guests. IKE'SPOV: There are most of the TOWNSPEOPLE we've come to know, plus some NEW YORKERS for Ike, with little ponytails. Armani wire rims, Donna Karan bodysuits. There's a lot of smirking, checking out the hicks, forming their stories for cocktail hour. Elaine is in back all dressed in black, mourning Ike. Mrs. Trout approaches Ike. Mrs. Trout starts picking lint off Fisher's jacket. Grandma leaves. Walter steps up. Peggy turns off the fan. Cindy takes the bag from Maggie. Maggie spits her bubblegum into the bag. Peggy hands Maggie her bouquet. Cindy and Peggy nod and leave. The door closes. The organ begins to play. The organist is Ted. Grandma, Walter, Mrs. Pressman and the Trouts watch. Mrs. Trout picks lint off of her husband's jacket. Dennis closes the door behind him as he goes back into the chapel. Maggie has a moment alone. She looks at back door as possible escape route, then changes her mind. She signals the start of the wedding by knocking on the door. Like a general, he points to Dennis and | What is different about the second wedding between Ike and Maggie and all her other weddings? | it is a private ceremony |
line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain Fighting Colonials pennant begins to flutter slightly, as if affected by the moving breeze. The path of which is continued toward the bed, rustling the sheets, subtly blowing Alex's hair and continuing OVER CAMERA. Even in his sleep, Alex shivers from the passing cold. His eyes open surprised to be suddenly awakened. He considers for a beat, then looks toward... CAMERA ADJUSTS FROM the "Arrival-Departure Schedule" to REVEAL forty high school KIDS, four TEACHERS and several PARENTS are gathered inside the International terminal at J.F.K. Several of the students wear Fighting Colonial leterman's jackets or hats and shirts displaying "Mt. Abraham High, New York." Alex gathers his bags, as does his best friend TOD WAGGNER and his older brother GEORGE WAGGNER, standing before their father, JERRY WAGGNER. For Alex, any psychic tension from the night before seems forgotten in the fun and excitement of the trip. MR. MURNAU, the French teacher (any further description necessary?) and leader of the class trip waves his arm. Tod shrugs, "I guess" as he moves to his father and gives him a warm hug goodbye. Mr. Waggner then gives his older son a hug. Tod and George gives a wave, as does Alex, who is slapped on the back by Mr. Waggner. The group begins down the airport toward the check-in counter. In the f.g., before the boys, strides a girl, CLEAR RIVERS, 17, reading the TROPIC OF CANCER. The loner in the group, Clear wears dark colors against the insecerity of her sex appeal. She appears aloof and more wordly then the other students. Readying his ticket and documents, Tod flips open his passport, checking out his photo. Mr. Murnau stops the group. Excited, he cups an ear with one hand while raising a finger toward the public address system. Everyone begrudgingly stops hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. | At the beginnng of the story, why are Alex Browning and his classsmates going to Paris? | Senior trip |
line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in heavy black work shoes. A dog rests nearby on the floor. Alex reads her intention loud and clear. She returns to her artwork. The dog GROWLS softly as Alex appraches the garage. She gestures to him to approach her. He tenses, awkward, but moves closer. Clear lifts a plastic cover off a canvas. Beneath is a mess of green and brown and orange; teen angst poorly communicated. Glued to the center is a twisted piece of metal. She sighs, "thanks a lot," then proud, but not enough to make her appear foolish over her bad artwork, indicates the metal. Alex gently touches the piece of the plane, almost expecting to feel something more than cold metal. He looks to Clear... While she cleans brushes with a can of turpentine... Alex eyes her for a long beat. She turns away from him, returning the can of turpentine to a shelf. Clear turns to Alex. The two couldn't appear more different. She moves to a sculpture, an ugly black and green globular sculpture with a white dot in the center. Alex, cocks his eyebrow probably thinking, "a mess?" but tactfully shakes his head "no." Remaining dry and stoned faced, Alex tenses, uncomfortable. Uncertain, and yet moved, Alex listens. Alex sighs, embarrassed. Jarred, he eyes her, frightened. Alex is increasingly uncomfortable with the subject, but eased by Clear's apparent, somewhat, understanding. Lowering his tone... Alex reacts, shocked and yet her impulsiveness is exciting... The skylight hinges CRACK open. Clear leads the way. lifting the frame, then dropping it throught the skylight window. Alex is not as smooth as his socius criminus. Using his knee to slow his descent, he hangs from the sill for a moment before dropping to the carpet. CAMERA MOVES WITH Alex and Clear through the unsettling reception area; plastic flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain | Who is Valerie Lewton? | Their teacher. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. to eat. CAMERA PUSHES IN as he begins to chew methodically, chewing and chewing and chewing with concentration until... after steadying himself... prepares to swallow... then, carefully does. Pause... he's alright. He takes the spoon. Scoops some more. And the process begins again. CAMERA RISES TO ALEX, sitting in his safe chair. Paranoid and obsessively cautious, his eyes move towards the door, anticipating the consequential events. Following the path of the breeze, Alex turns around... Alex removes the hook from the door and places the pole on the floor. He cautiously opens the door, REVEALING an old fish scaling knife embedded on the back side of the door, unaware. Removing the knife and securing it, his eyes turn towards the floor. O.S., a sound. Like a THUMP near the cabin steps. He freezes, like an animal sensing danger. THUNDER RUMBLES. The light around him begins to flicker and sway. The photograph is turned over. On the back is marked in a young girl's handwriting, "me and dad at the cabin. 1986." A figure steps into the drivers side window, from the rear. The two agents are startled as Clear Rivers leans into FRAME. She pauses, gauging their trustworthiness, then... The two agents remain respectful... She considers... and understands. As she senses the agents' sincerity... A headline catches his attention. CAMERA INCHES IN ON HIM, tense, while THUNDER RUMBLES. As he unrolls the paper, his expression is rocked... anxious... he cocks his head to consider... recalling... as CAMERA PUSHES ALL THE WAY INTO... The power line STRIKES the ground, "closing in on" the dog. Although no window is open, and the power outage has shut off any air conditioning... the candle flame whips, then extinguishes. The blue smoke swirls ominously into the room. Looing back to check the postition of the Fighting Colonials pennant begins to flutter slightly, as if affected by the moving breeze. The path of which is continued toward the bed, rustling the sheets, subtly blowing Alex's hair and continuing OVER CAMERA. Even in his sleep, Alex shivers from the passing cold. His eyes open surprised to be suddenly awakened. He considers for a beat, then looks toward... CAMERA ADJUSTS FROM the "Arrival-Departure Schedule" to REVEAL forty high school KIDS, four TEACHERS and several PARENTS are gathered inside the International terminal at J.F.K. Several of the students wear Fighting Colonial leterman's jackets or hats and shirts displaying "Mt. Abraham High, New York." Alex gathers his bags, as does his best friend TOD WAGGNER and his older brother GEORGE WAGGNER, standing before their father, JERRY WAGGNER. For Alex, any psychic tension from the night before seems forgotten in the fun and excitement of the trip. MR. MURNAU, the French teacher (any further description necessary?) and leader of the class trip waves his arm. Tod shrugs, "I guess" as he moves to his father and gives him a warm hug goodbye. Mr. Waggner then gives his older son a hug. Tod and George gives a wave, as does Alex, who is slapped on the back by Mr. Waggner. The group begins down the airport toward the check-in counter. In the f.g., before the boys, strides a girl, CLEAR RIVERS, 17, reading the TROPIC OF CANCER. The loner in the group, Clear wears dark colors against the insecerity of her sex appeal. She appears aloof and more wordly then the other students. Readying his ticket and documents, Tod flips open his passport, checking out his photo. Mr. Murnau stops the group. Excited, he cups an ear with one hand while raising a finger toward the public address system. Everyone begrudgingly stops By James Wong and Glen Morgan January 15, 1999 Awaiting......each of us; a cold...dark...lonely place. Deny its finality. Deride its totality. Dread the inescapable inevitability......it will arrive. The BLACK SILENT SCREEN senses this moment before a distant blues harp introduces a contemporary band's cover of Blood, Sweat, and Tears' campy, yet haunting, gospel, "And When I Die." "And When I Die" Continues throughout the MAIN TITLES: CAMERA CREEPS IN, teasingly on the dark faced corpse. The pages begin to turn once again. CAMERA ADJUSTS, to fully reveal Alex Browning as he turns toward the bedroom door. Alex is an average kid; handsome. A high school "everyman." One the wall amongst Yankee and Knicks posters, hangs a pennant; "Mt. Abraham High School, New York. The Fighting Colonials!" Alex's mother, BARBARA, 45, walks in, excited and a bit anxious. BARABRA (Cont'd) Tod and George's dad just called, he's picking you up at 10 in the morning. Bus leaves the high school for JFK at noon. Barbara moves towards the suitcase to help him pack. Alex's father, KEN BROWNING, 48 appears, leaning against the door threshold, smiling enviously at his son. Alex nods and buckles it. Barbara reaches in to tear off an airline baggage I.D. ticket attached from the previous flight. Barbara shakes her head as Alex smiles at his dad. KEN (Cont'd) Seventeen and on the loose. Ten days in Paris. In the springtime! Live it up, Alex... CAMERA INCHES INTO KEN as he winks at his son... KEN (Cont'd) Got your whole life ahead of you. As if itself a presence, CAMERA CREEPS across the dark and motionless room TOWARD Alex, sleeping soundly. CAMERA CRANES DOWN to the level of the bed until Alex is in the f.g. and the room is visible behind him. On the rear wall, the | Why is Alex, along with several others, removed from the plane which is flying to Paris? | Alex is removed from the plane for fighting with his rival, Carter Horton. |
to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain to eat. CAMERA PUSHES IN as he begins to chew methodically, chewing and chewing and chewing with concentration until... after steadying himself... prepares to swallow... then, carefully does. Pause... he's alright. He takes the spoon. Scoops some more. And the process begins again. CAMERA RISES TO ALEX, sitting in his safe chair. Paranoid and obsessively cautious, his eyes move towards the door, anticipating the consequential events. Following the path of the breeze, Alex turns around... Alex removes the hook from the door and places the pole on the floor. He cautiously opens the door, REVEALING an old fish scaling knife embedded on the back side of the door, unaware. Removing the knife and securing it, his eyes turn towards the floor. O.S., a sound. Like a THUMP near the cabin steps. He freezes, like an animal sensing danger. THUNDER RUMBLES. The light around him begins to flicker and sway. The photograph is turned over. On the back is marked in a young girl's handwriting, "me and dad at the cabin. 1986." A figure steps into the drivers side window, from the rear. The two agents are startled as Clear Rivers leans into FRAME. She pauses, gauging their trustworthiness, then... The two agents remain respectful... She considers... and understands. As she senses the agents' sincerity... A headline catches his attention. CAMERA INCHES IN ON HIM, tense, while THUNDER RUMBLES. As he unrolls the paper, his expression is rocked... anxious... he cocks his head to consider... recalling... as CAMERA PUSHES ALL THE WAY INTO... The power line STRIKES the ground, "closing in on" the dog. Although no window is open, and the power outage has shut off any air conditioning... the candle flame whips, then extinguishes. The blue smoke swirls ominously into the room. Looing back to check the postition of the | When is a memorial service held for the plane crash victims? | A memorial service for the victims is held thirty-nine days after the plane crash. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain heavy black work shoes. A dog rests nearby on the floor. Alex reads her intention loud and clear. She returns to her artwork. The dog GROWLS softly as Alex appraches the garage. She gestures to him to approach her. He tenses, awkward, but moves closer. Clear lifts a plastic cover off a canvas. Beneath is a mess of green and brown and orange; teen angst poorly communicated. Glued to the center is a twisted piece of metal. She sighs, "thanks a lot," then proud, but not enough to make her appear foolish over her bad artwork, indicates the metal. Alex gently touches the piece of the plane, almost expecting to feel something more than cold metal. He looks to Clear... While she cleans brushes with a can of turpentine... Alex eyes her for a long beat. She turns away from him, returning the can of turpentine to a shelf. Clear turns to Alex. The two couldn't appear more different. She moves to a sculpture, an ugly black and green globular sculpture with a white dot in the center. Alex, cocks his eyebrow probably thinking, "a mess?" but tactfully shakes his head "no." Remaining dry and stoned faced, Alex tenses, uncomfortable. Uncertain, and yet moved, Alex listens. Alex sighs, embarrassed. Jarred, he eyes her, frightened. Alex is increasingly uncomfortable with the subject, but eased by Clear's apparent, somewhat, understanding. Lowering his tone... Alex reacts, shocked and yet her impulsiveness is exciting... The skylight hinges CRACK open. Clear leads the way. lifting the frame, then dropping it throught the skylight window. Alex is not as smooth as his socius criminus. Using his knee to slow his descent, he hangs from the sill for a moment before dropping to the carpet. CAMERA MOVES WITH Alex and Clear through the unsettling reception area; plastic | How is Valerie Lewton killed? | She is impaled by a kitchen knife and then her house explodes. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in heavy black work shoes. A dog rests nearby on the floor. Alex reads her intention loud and clear. She returns to her artwork. The dog GROWLS softly as Alex appraches the garage. She gestures to him to approach her. He tenses, awkward, but moves closer. Clear lifts a plastic cover off a canvas. Beneath is a mess of green and brown and orange; teen angst poorly communicated. Glued to the center is a twisted piece of metal. She sighs, "thanks a lot," then proud, but not enough to make her appear foolish over her bad artwork, indicates the metal. Alex gently touches the piece of the plane, almost expecting to feel something more than cold metal. He looks to Clear... While she cleans brushes with a can of turpentine... Alex eyes her for a long beat. She turns away from him, returning the can of turpentine to a shelf. Clear turns to Alex. The two couldn't appear more different. She moves to a sculpture, an ugly black and green globular sculpture with a white dot in the center. Alex, cocks his eyebrow probably thinking, "a mess?" but tactfully shakes his head "no." Remaining dry and stoned faced, Alex tenses, uncomfortable. Uncertain, and yet moved, Alex listens. Alex sighs, embarrassed. Jarred, he eyes her, frightened. Alex is increasingly uncomfortable with the subject, but eased by Clear's apparent, somewhat, understanding. Lowering his tone... Alex reacts, shocked and yet her impulsiveness is exciting... The skylight hinges CRACK open. Clear leads the way. lifting the frame, then dropping it throught the skylight window. Alex is not as smooth as his socius criminus. Using his knee to slow his descent, he hangs from the sill for a moment before dropping to the carpet. CAMERA MOVES WITH Alex and Clear through the unsettling reception area; plastic | Who is William Bludworth? | A mortician |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain | In what order are the survivors dying? | In the order they were meant to die had they been on the plane. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod to eat. CAMERA PUSHES IN as he begins to chew methodically, chewing and chewing and chewing with concentration until... after steadying himself... prepares to swallow... then, carefully does. Pause... he's alright. He takes the spoon. Scoops some more. And the process begins again. CAMERA RISES TO ALEX, sitting in his safe chair. Paranoid and obsessively cautious, his eyes move towards the door, anticipating the consequential events. Following the path of the breeze, Alex turns around... Alex removes the hook from the door and places the pole on the floor. He cautiously opens the door, REVEALING an old fish scaling knife embedded on the back side of the door, unaware. Removing the knife and securing it, his eyes turn towards the floor. O.S., a sound. Like a THUMP near the cabin steps. He freezes, like an animal sensing danger. THUNDER RUMBLES. The light around him begins to flicker and sway. The photograph is turned over. On the back is marked in a young girl's handwriting, "me and dad at the cabin. 1986." A figure steps into the drivers side window, from the rear. The two agents are startled as Clear Rivers leans into FRAME. She pauses, gauging their trustworthiness, then... The two agents remain respectful... She considers... and understands. As she senses the agents' sincerity... A headline catches his attention. CAMERA INCHES IN ON HIM, tense, while THUNDER RUMBLES. As he unrolls the paper, his expression is rocked... anxious... he cocks his head to consider... recalling... as CAMERA PUSHES ALL THE WAY INTO... The power line STRIKES the ground, "closing in on" the dog. Although no window is open, and the power outage has shut off any air conditioning... the candle flame whips, then extinguishes. The blue smoke swirls ominously into the room. Looing back to check the postition of the | What does Carter do when he learns he is next of Death's list? | He parks his car on the railroad tracks so he can die under his own terms. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod to eat. CAMERA PUSHES IN as he begins to chew methodically, chewing and chewing and chewing with concentration until... after steadying himself... prepares to swallow... then, carefully does. Pause... he's alright. He takes the spoon. Scoops some more. And the process begins again. CAMERA RISES TO ALEX, sitting in his safe chair. Paranoid and obsessively cautious, his eyes move towards the door, anticipating the consequential events. Following the path of the breeze, Alex turns around... Alex removes the hook from the door and places the pole on the floor. He cautiously opens the door, REVEALING an old fish scaling knife embedded on the back side of the door, unaware. Removing the knife and securing it, his eyes turn towards the floor. O.S., a sound. Like a THUMP near the cabin steps. He freezes, like an animal sensing danger. THUNDER RUMBLES. The light around him begins to flicker and sway. The photograph is turned over. On the back is marked in a young girl's handwriting, "me and dad at the cabin. 1986." A figure steps into the drivers side window, from the rear. The two agents are startled as Clear Rivers leans into FRAME. She pauses, gauging their trustworthiness, then... The two agents remain respectful... She considers... and understands. As she senses the agents' sincerity... A headline catches his attention. CAMERA INCHES IN ON HIM, tense, while THUNDER RUMBLES. As he unrolls the paper, his expression is rocked... anxious... he cocks his head to consider... recalling... as CAMERA PUSHES ALL THE WAY INTO... The power line STRIKES the ground, "closing in on" the dog. Although no window is open, and the power outage has shut off any air conditioning... the candle flame whips, then extinguishes. The blue smoke swirls ominously into the room. Looing back to check the postition of the | What do Alex, Clear, and Carter do to celebrate their survival from Death? | Six months later, they travel to Paris. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod to eat. CAMERA PUSHES IN as he begins to chew methodically, chewing and chewing and chewing with concentration until... after steadying himself... prepares to swallow... then, carefully does. Pause... he's alright. He takes the spoon. Scoops some more. And the process begins again. CAMERA RISES TO ALEX, sitting in his safe chair. Paranoid and obsessively cautious, his eyes move towards the door, anticipating the consequential events. Following the path of the breeze, Alex turns around... Alex removes the hook from the door and places the pole on the floor. He cautiously opens the door, REVEALING an old fish scaling knife embedded on the back side of the door, unaware. Removing the knife and securing it, his eyes turn towards the floor. O.S., a sound. Like a THUMP near the cabin steps. He freezes, like an animal sensing danger. THUNDER RUMBLES. The light around him begins to flicker and sway. The photograph is turned over. On the back is marked in a young girl's handwriting, "me and dad at the cabin. 1986." A figure steps into the drivers side window, from the rear. The two agents are startled as Clear Rivers leans into FRAME. She pauses, gauging their trustworthiness, then... The two agents remain respectful... She considers... and understands. As she senses the agents' sincerity... A headline catches his attention. CAMERA INCHES IN ON HIM, tense, while THUNDER RUMBLES. As he unrolls the paper, his expression is rocked... anxious... he cocks his head to consider... recalling... as CAMERA PUSHES ALL THE WAY INTO... The power line STRIKES the ground, "closing in on" the dog. Although no window is open, and the power outage has shut off any air conditioning... the candle flame whips, then extinguishes. The blue smoke swirls ominously into the room. Looing back to check the postition of the By James Wong and Glen Morgan January 15, 1999 Awaiting......each of us; a cold...dark...lonely place. Deny its finality. Deride its totality. Dread the inescapable inevitability......it will arrive. The BLACK SILENT SCREEN senses this moment before a distant blues harp introduces a contemporary band's cover of Blood, Sweat, and Tears' campy, yet haunting, gospel, "And When I Die." "And When I Die" Continues throughout the MAIN TITLES: CAMERA CREEPS IN, teasingly on the dark faced corpse. The pages begin to turn once again. CAMERA ADJUSTS, to fully reveal Alex Browning as he turns toward the bedroom door. Alex is an average kid; handsome. A high school "everyman." One the wall amongst Yankee and Knicks posters, hangs a pennant; "Mt. Abraham High School, New York. The Fighting Colonials!" Alex's mother, BARBARA, 45, walks in, excited and a bit anxious. BARABRA (Cont'd) Tod and George's dad just called, he's picking you up at 10 in the morning. Bus leaves the high school for JFK at noon. Barbara moves towards the suitcase to help him pack. Alex's father, KEN BROWNING, 48 appears, leaning against the door threshold, smiling enviously at his son. Alex nods and buckles it. Barbara reaches in to tear off an airline baggage I.D. ticket attached from the previous flight. Barbara shakes her head as Alex smiles at his dad. KEN (Cont'd) Seventeen and on the loose. Ten days in Paris. In the springtime! Live it up, Alex... CAMERA INCHES INTO KEN as he winks at his son... KEN (Cont'd) Got your whole life ahead of you. As if itself a presence, CAMERA CREEPS across the dark and motionless room TOWARD Alex, sleeping soundly. CAMERA CRANES DOWN to the level of the bed until Alex is in the f.g. and the room is visible behind him. On the rear wall, the | What is Alex's premontion at the airport? | That the plane will have an engine failure and explode in air killing everyone on board. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. turns his eyes to the glass. The father respects this young man's wishes. Ken nods "fair enough." In the silent moment, O.S., from the television... Alex quickly grabs the remote and turns up the VOLUME... The corresponding jagged picture of the explosion back is reminiscent of the "hand of Death," seen earlier in the lightning. It is a graphic demonsration of the arbitrary nature of Death. It instantly, frightfully, occurs to him, he now knows who will be next... Moving boxes are stacked in the living room; organized disarray of relocating. The house is old, been in the family forever. Dust marks the walls where framed photos and artwork were once displayed. She peeks out of the front curtains and looks sadly upon her front yard. Her expression alters... alarmed... She immediately hangs up and speed dials. Startled, Alex turns to find... Special agents Schreck and Weine standing in the street, backlit in the strong headlights of their car. The curtains billow as if blown by a breeze. Ms. Lewton appears puzzled as she moves the curtains aside to find the windows closed. As CAMERA PUSHES IN ON HER, tensing and uneasy... Kneeling down, she tugs on a heavy box and opens it to check the contents. Her expression warms, as if recalling a far off memory. She slides a vinyl record album out of the sleeve and moves to the turntable on a shelf, thick with dust. Valerie places the record on the stereo and sets the needle on the album. CAMERA SWEEPS IN CLOSE TO THE TURNTABLE, although spinning around and around... the bold letters of the center label can be read... JOHN DENVER... the opening acoustic guitar of "Rocky Mountain High" has never sounded so eerie... Pleased with the feeling of a pleasant memory, Lewton moves off. Fighting Colonials pennant begins to flutter slightly, as if affected by the moving breeze. The path of which is continued toward the bed, rustling the sheets, subtly blowing Alex's hair and continuing OVER CAMERA. Even in his sleep, Alex shivers from the passing cold. His eyes open surprised to be suddenly awakened. He considers for a beat, then looks toward... CAMERA ADJUSTS FROM the "Arrival-Departure Schedule" to REVEAL forty high school KIDS, four TEACHERS and several PARENTS are gathered inside the International terminal at J.F.K. Several of the students wear Fighting Colonial leterman's jackets or hats and shirts displaying "Mt. Abraham High, New York." Alex gathers his bags, as does his best friend TOD WAGGNER and his older brother GEORGE WAGGNER, standing before their father, JERRY WAGGNER. For Alex, any psychic tension from the night before seems forgotten in the fun and excitement of the trip. MR. MURNAU, the French teacher (any further description necessary?) and leader of the class trip waves his arm. Tod shrugs, "I guess" as he moves to his father and gives him a warm hug goodbye. Mr. Waggner then gives his older son a hug. Tod and George gives a wave, as does Alex, who is slapped on the back by Mr. Waggner. The group begins down the airport toward the check-in counter. In the f.g., before the boys, strides a girl, CLEAR RIVERS, 17, reading the TROPIC OF CANCER. The loner in the group, Clear wears dark colors against the insecerity of her sex appeal. She appears aloof and more wordly then the other students. Readying his ticket and documents, Tod flips open his passport, checking out his photo. Mr. Murnau stops the group. Excited, he cups an ear with one hand while raising a finger toward the public address system. Everyone begrudgingly stops hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in | Why did Alex Browning and his classmates board Volee Airlines flight 180? | Senior class trip to Paris. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain heavy black work shoes. A dog rests nearby on the floor. Alex reads her intention loud and clear. She returns to her artwork. The dog GROWLS softly as Alex appraches the garage. She gestures to him to approach her. He tenses, awkward, but moves closer. Clear lifts a plastic cover off a canvas. Beneath is a mess of green and brown and orange; teen angst poorly communicated. Glued to the center is a twisted piece of metal. She sighs, "thanks a lot," then proud, but not enough to make her appear foolish over her bad artwork, indicates the metal. Alex gently touches the piece of the plane, almost expecting to feel something more than cold metal. He looks to Clear... While she cleans brushes with a can of turpentine... Alex eyes her for a long beat. She turns away from him, returning the can of turpentine to a shelf. Clear turns to Alex. The two couldn't appear more different. She moves to a sculpture, an ugly black and green globular sculpture with a white dot in the center. Alex, cocks his eyebrow probably thinking, "a mess?" but tactfully shakes his head "no." Remaining dry and stoned faced, Alex tenses, uncomfortable. Uncertain, and yet moved, Alex listens. Alex sighs, embarrassed. Jarred, he eyes her, frightened. Alex is increasingly uncomfortable with the subject, but eased by Clear's apparent, somewhat, understanding. Lowering his tone... Alex reacts, shocked and yet her impulsiveness is exciting... The skylight hinges CRACK open. Clear leads the way. lifting the frame, then dropping it throught the skylight window. Alex is not as smooth as his socius criminus. Using his knee to slow his descent, he hangs from the sill for a moment before dropping to the carpet. CAMERA MOVES WITH Alex and Clear through the unsettling reception area; plastic | What was Alex's premonition? | That the plane will undergo engine failure, which will cause the entire plane to explode and kill all passengers. |
to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain to eat. CAMERA PUSHES IN as he begins to chew methodically, chewing and chewing and chewing with concentration until... after steadying himself... prepares to swallow... then, carefully does. Pause... he's alright. He takes the spoon. Scoops some more. And the process begins again. CAMERA RISES TO ALEX, sitting in his safe chair. Paranoid and obsessively cautious, his eyes move towards the door, anticipating the consequential events. Following the path of the breeze, Alex turns around... Alex removes the hook from the door and places the pole on the floor. He cautiously opens the door, REVEALING an old fish scaling knife embedded on the back side of the door, unaware. Removing the knife and securing it, his eyes turn towards the floor. O.S., a sound. Like a THUMP near the cabin steps. He freezes, like an animal sensing danger. THUNDER RUMBLES. The light around him begins to flicker and sway. The photograph is turned over. On the back is marked in a young girl's handwriting, "me and dad at the cabin. 1986." A figure steps into the drivers side window, from the rear. The two agents are startled as Clear Rivers leans into FRAME. She pauses, gauging their trustworthiness, then... The two agents remain respectful... She considers... and understands. As she senses the agents' sincerity... A headline catches his attention. CAMERA INCHES IN ON HIM, tense, while THUNDER RUMBLES. As he unrolls the paper, his expression is rocked... anxious... he cocks his head to consider... recalling... as CAMERA PUSHES ALL THE WAY INTO... The power line STRIKES the ground, "closing in on" the dog. Although no window is open, and the power outage has shut off any air conditioning... the candle flame whips, then extinguishes. The blue smoke swirls ominously into the room. Looing back to check the postition of the | Who is the only person who believed Alex's vision? | Clear Rivers |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain | How did Tod Waggner die? | He was strangled in his bathtub |
to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod to eat. CAMERA PUSHES IN as he begins to chew methodically, chewing and chewing and chewing with concentration until... after steadying himself... prepares to swallow... then, carefully does. Pause... he's alright. He takes the spoon. Scoops some more. And the process begins again. CAMERA RISES TO ALEX, sitting in his safe chair. Paranoid and obsessively cautious, his eyes move towards the door, anticipating the consequential events. Following the path of the breeze, Alex turns around... Alex removes the hook from the door and places the pole on the floor. He cautiously opens the door, REVEALING an old fish scaling knife embedded on the back side of the door, unaware. Removing the knife and securing it, his eyes turn towards the floor. O.S., a sound. Like a THUMP near the cabin steps. He freezes, like an animal sensing danger. THUNDER RUMBLES. The light around him begins to flicker and sway. The photograph is turned over. On the back is marked in a young girl's handwriting, "me and dad at the cabin. 1986." A figure steps into the drivers side window, from the rear. The two agents are startled as Clear Rivers leans into FRAME. She pauses, gauging their trustworthiness, then... The two agents remain respectful... She considers... and understands. As she senses the agents' sincerity... A headline catches his attention. CAMERA INCHES IN ON HIM, tense, while THUNDER RUMBLES. As he unrolls the paper, his expression is rocked... anxious... he cocks his head to consider... recalling... as CAMERA PUSHES ALL THE WAY INTO... The power line STRIKES the ground, "closing in on" the dog. Although no window is open, and the power outage has shut off any air conditioning... the candle flame whips, then extinguishes. The blue smoke swirls ominously into the room. Looing back to check the postition of the By James Wong and Glen Morgan January 15, 1999 Awaiting......each of us; a cold...dark...lonely place. Deny its finality. Deride its totality. Dread the inescapable inevitability......it will arrive. The BLACK SILENT SCREEN senses this moment before a distant blues harp introduces a contemporary band's cover of Blood, Sweat, and Tears' campy, yet haunting, gospel, "And When I Die." "And When I Die" Continues throughout the MAIN TITLES: CAMERA CREEPS IN, teasingly on the dark faced corpse. The pages begin to turn once again. CAMERA ADJUSTS, to fully reveal Alex Browning as he turns toward the bedroom door. Alex is an average kid; handsome. A high school "everyman." One the wall amongst Yankee and Knicks posters, hangs a pennant; "Mt. Abraham High School, New York. The Fighting Colonials!" Alex's mother, BARBARA, 45, walks in, excited and a bit anxious. BARABRA (Cont'd) Tod and George's dad just called, he's picking you up at 10 in the morning. Bus leaves the high school for JFK at noon. Barbara moves towards the suitcase to help him pack. Alex's father, KEN BROWNING, 48 appears, leaning against the door threshold, smiling enviously at his son. Alex nods and buckles it. Barbara reaches in to tear off an airline baggage I.D. ticket attached from the previous flight. Barbara shakes her head as Alex smiles at his dad. KEN (Cont'd) Seventeen and on the loose. Ten days in Paris. In the springtime! Live it up, Alex... CAMERA INCHES INTO KEN as he winks at his son... KEN (Cont'd) Got your whole life ahead of you. As if itself a presence, CAMERA CREEPS across the dark and motionless room TOWARD Alex, sleeping soundly. CAMERA CRANES DOWN to the level of the bed until Alex is in the f.g. and the room is visible behind him. On the rear wall, the | What did Alex realize after watching a news report about the plane explosion? | That the people who survived are dying in the order they were supposed to die in that plane. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain | What killed Ms. Lewton? | A falling kitchen knife and eventually the explosion of her house. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in By James Wong and Glen Morgan January 15, 1999 Awaiting......each of us; a cold...dark...lonely place. Deny its finality. Deride its totality. Dread the inescapable inevitability......it will arrive. The BLACK SILENT SCREEN senses this moment before a distant blues harp introduces a contemporary band's cover of Blood, Sweat, and Tears' campy, yet haunting, gospel, "And When I Die." "And When I Die" Continues throughout the MAIN TITLES: CAMERA CREEPS IN, teasingly on the dark faced corpse. The pages begin to turn once again. CAMERA ADJUSTS, to fully reveal Alex Browning as he turns toward the bedroom door. Alex is an average kid; handsome. A high school "everyman." One the wall amongst Yankee and Knicks posters, hangs a pennant; "Mt. Abraham High School, New York. The Fighting Colonials!" Alex's mother, BARBARA, 45, walks in, excited and a bit anxious. BARABRA (Cont'd) Tod and George's dad just called, he's picking you up at 10 in the morning. Bus leaves the high school for JFK at noon. Barbara moves towards the suitcase to help him pack. Alex's father, KEN BROWNING, 48 appears, leaning against the door threshold, smiling enviously at his son. Alex nods and buckles it. Barbara reaches in to tear off an airline baggage I.D. ticket attached from the previous flight. Barbara shakes her head as Alex smiles at his dad. KEN (Cont'd) Seventeen and on the loose. Ten days in Paris. In the springtime! Live it up, Alex... CAMERA INCHES INTO KEN as he winks at his son... KEN (Cont'd) Got your whole life ahead of you. As if itself a presence, CAMERA CREEPS across the dark and motionless room TOWARD Alex, sleeping soundly. CAMERA CRANES DOWN to the level of the bed until Alex is in the f.g. and the room is visible behind him. On the rear wall, the | What did Carter Horton do to try to die in his own terms? | He parked his car on the railroad tracks. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod to eat. CAMERA PUSHES IN as he begins to chew methodically, chewing and chewing and chewing with concentration until... after steadying himself... prepares to swallow... then, carefully does. Pause... he's alright. He takes the spoon. Scoops some more. And the process begins again. CAMERA RISES TO ALEX, sitting in his safe chair. Paranoid and obsessively cautious, his eyes move towards the door, anticipating the consequential events. Following the path of the breeze, Alex turns around... Alex removes the hook from the door and places the pole on the floor. He cautiously opens the door, REVEALING an old fish scaling knife embedded on the back side of the door, unaware. Removing the knife and securing it, his eyes turn towards the floor. O.S., a sound. Like a THUMP near the cabin steps. He freezes, like an animal sensing danger. THUNDER RUMBLES. The light around him begins to flicker and sway. The photograph is turned over. On the back is marked in a young girl's handwriting, "me and dad at the cabin. 1986." A figure steps into the drivers side window, from the rear. The two agents are startled as Clear Rivers leans into FRAME. She pauses, gauging their trustworthiness, then... The two agents remain respectful... She considers... and understands. As she senses the agents' sincerity... A headline catches his attention. CAMERA INCHES IN ON HIM, tense, while THUNDER RUMBLES. As he unrolls the paper, his expression is rocked... anxious... he cocks his head to consider... recalling... as CAMERA PUSHES ALL THE WAY INTO... The power line STRIKES the ground, "closing in on" the dog. Although no window is open, and the power outage has shut off any air conditioning... the candle flame whips, then extinguishes. The blue smoke swirls ominously into the room. Looing back to check the postition of the | While hiding out in the cabin, what did Alex recall? | That since he switched seats with two girls in his vision, it's Clear who's next to die. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. Fighting Colonials pennant begins to flutter slightly, as if affected by the moving breeze. The path of which is continued toward the bed, rustling the sheets, subtly blowing Alex's hair and continuing OVER CAMERA. Even in his sleep, Alex shivers from the passing cold. His eyes open surprised to be suddenly awakened. He considers for a beat, then looks toward... CAMERA ADJUSTS FROM the "Arrival-Departure Schedule" to REVEAL forty high school KIDS, four TEACHERS and several PARENTS are gathered inside the International terminal at J.F.K. Several of the students wear Fighting Colonial leterman's jackets or hats and shirts displaying "Mt. Abraham High, New York." Alex gathers his bags, as does his best friend TOD WAGGNER and his older brother GEORGE WAGGNER, standing before their father, JERRY WAGGNER. For Alex, any psychic tension from the night before seems forgotten in the fun and excitement of the trip. MR. MURNAU, the French teacher (any further description necessary?) and leader of the class trip waves his arm. Tod shrugs, "I guess" as he moves to his father and gives him a warm hug goodbye. Mr. Waggner then gives his older son a hug. Tod and George gives a wave, as does Alex, who is slapped on the back by Mr. Waggner. The group begins down the airport toward the check-in counter. In the f.g., before the boys, strides a girl, CLEAR RIVERS, 17, reading the TROPIC OF CANCER. The loner in the group, Clear wears dark colors against the insecerity of her sex appeal. She appears aloof and more wordly then the other students. Readying his ticket and documents, Tod flips open his passport, checking out his photo. Mr. Murnau stops the group. Excited, he cups an ear with one hand while raising a finger toward the public address system. Everyone begrudgingly stops | What did Alex, Clear, and Carter do in Paris? | They celebrated their survival. |
to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod By James Wong and Glen Morgan January 15, 1999 Awaiting......each of us; a cold...dark...lonely place. Deny its finality. Deride its totality. Dread the inescapable inevitability......it will arrive. The BLACK SILENT SCREEN senses this moment before a distant blues harp introduces a contemporary band's cover of Blood, Sweat, and Tears' campy, yet haunting, gospel, "And When I Die." "And When I Die" Continues throughout the MAIN TITLES: CAMERA CREEPS IN, teasingly on the dark faced corpse. The pages begin to turn once again. CAMERA ADJUSTS, to fully reveal Alex Browning as he turns toward the bedroom door. Alex is an average kid; handsome. A high school "everyman." One the wall amongst Yankee and Knicks posters, hangs a pennant; "Mt. Abraham High School, New York. The Fighting Colonials!" Alex's mother, BARBARA, 45, walks in, excited and a bit anxious. BARABRA (Cont'd) Tod and George's dad just called, he's picking you up at 10 in the morning. Bus leaves the high school for JFK at noon. Barbara moves towards the suitcase to help him pack. Alex's father, KEN BROWNING, 48 appears, leaning against the door threshold, smiling enviously at his son. Alex nods and buckles it. Barbara reaches in to tear off an airline baggage I.D. ticket attached from the previous flight. Barbara shakes her head as Alex smiles at his dad. KEN (Cont'd) Seventeen and on the loose. Ten days in Paris. In the springtime! Live it up, Alex... CAMERA INCHES INTO KEN as he winks at his son... KEN (Cont'd) Got your whole life ahead of you. As if itself a presence, CAMERA CREEPS across the dark and motionless room TOWARD Alex, sleeping soundly. CAMERA CRANES DOWN to the level of the bed until Alex is in the f.g. and the room is visible behind him. On the rear wall, the to eat. CAMERA PUSHES IN as he begins to chew methodically, chewing and chewing and chewing with concentration until... after steadying himself... prepares to swallow... then, carefully does. Pause... he's alright. He takes the spoon. Scoops some more. And the process begins again. CAMERA RISES TO ALEX, sitting in his safe chair. Paranoid and obsessively cautious, his eyes move towards the door, anticipating the consequential events. Following the path of the breeze, Alex turns around... Alex removes the hook from the door and places the pole on the floor. He cautiously opens the door, REVEALING an old fish scaling knife embedded on the back side of the door, unaware. Removing the knife and securing it, his eyes turn towards the floor. O.S., a sound. Like a THUMP near the cabin steps. He freezes, like an animal sensing danger. THUNDER RUMBLES. The light around him begins to flicker and sway. The photograph is turned over. On the back is marked in a young girl's handwriting, "me and dad at the cabin. 1986." A figure steps into the drivers side window, from the rear. The two agents are startled as Clear Rivers leans into FRAME. She pauses, gauging their trustworthiness, then... The two agents remain respectful... She considers... and understands. As she senses the agents' sincerity... A headline catches his attention. CAMERA INCHES IN ON HIM, tense, while THUNDER RUMBLES. As he unrolls the paper, his expression is rocked... anxious... he cocks his head to consider... recalling... as CAMERA PUSHES ALL THE WAY INTO... The power line STRIKES the ground, "closing in on" the dog. Although no window is open, and the power outage has shut off any air conditioning... the candle flame whips, then extinguishes. The blue smoke swirls ominously into the room. Looing back to check the postition of the | Who was supposed to die next as the story ends? | Alex Browning. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain heavy black work shoes. A dog rests nearby on the floor. Alex reads her intention loud and clear. She returns to her artwork. The dog GROWLS softly as Alex appraches the garage. She gestures to him to approach her. He tenses, awkward, but moves closer. Clear lifts a plastic cover off a canvas. Beneath is a mess of green and brown and orange; teen angst poorly communicated. Glued to the center is a twisted piece of metal. She sighs, "thanks a lot," then proud, but not enough to make her appear foolish over her bad artwork, indicates the metal. Alex gently touches the piece of the plane, almost expecting to feel something more than cold metal. He looks to Clear... While she cleans brushes with a can of turpentine... Alex eyes her for a long beat. She turns away from him, returning the can of turpentine to a shelf. Clear turns to Alex. The two couldn't appear more different. She moves to a sculpture, an ugly black and green globular sculpture with a white dot in the center. Alex, cocks his eyebrow probably thinking, "a mess?" but tactfully shakes his head "no." Remaining dry and stoned faced, Alex tenses, uncomfortable. Uncertain, and yet moved, Alex listens. Alex sighs, embarrassed. Jarred, he eyes her, frightened. Alex is increasingly uncomfortable with the subject, but eased by Clear's apparent, somewhat, understanding. Lowering his tone... Alex reacts, shocked and yet her impulsiveness is exciting... The skylight hinges CRACK open. Clear leads the way. lifting the frame, then dropping it throught the skylight window. Alex is not as smooth as his socius criminus. Using his knee to slow his descent, he hangs from the sill for a moment before dropping to the carpet. CAMERA MOVES WITH Alex and Clear through the unsettling reception area; plastic | What grade is Alex Browning in? | 12th |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain | Where does William Bludworth work? | The funeral home. |
hand pointing directly at Alex. Alex raises his eyes and looks across the ceremony... Alex checks over his shoulder. CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up... Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial. Alex winces from Carter's breath... Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release. He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off. Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line. Alex turns to him, increudlously.. Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER... Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial. Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names... Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him. Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial. Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain | How does Terry Chaney die? | By a speeding bus. |
table. The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work... Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth... Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH, INDIVIDUALLY... this between the two of them. Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex. Alex grabs her arm, starting toward the door. Alex looks at Bludworth... CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street. Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly. Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME. As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move... This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way. Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb. VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street. CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and to listen. Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh." Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as... She doesn't react. Her expression remains cool as Murnau leads the procession forward. The boys continue. Alex sighs... A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHANA, dressed in everyday clothes, but head shaved and a mark on his nose. CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY. As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies. She places a hand on Alex's shoulder, herding him to the group. Ms. Lewton turns and, while walking backward, flashes a smile... As she turns her back and continues down the terminal... O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK. The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward. Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to... Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward... Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket... CLACK. CLACK. CLACK. Alex's eyes flash toward... Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions. Unseen by the chaperones, no student, has the nerve to protest Carter's action. line... Tod subtly nods, reaching out to the memorial. Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium. Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled. Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower. As he speaks, the sunlight suddenly turns to shadow. Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs. Alex studies his mountain of research, increasingly obsessed. An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service. CAMERA PUSHES IN as he sighs, troubled... Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains. As the breeze passes Tod, he pauses... as if sensing, but not understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door. The door is softly pushed closed by the breeze. As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor. Tod flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY." With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows. A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on. Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart. From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK! As Alex and Clear approach... Suddenly, Tod jerks; his hand lifting four inches... He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth.. Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding... As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation. Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck. Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation. CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject. Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals. Vile liquid oozes out of the body onto the porcelain Alex, Tod, George and BILLY HITCHCOCK, heavyset with a New York Rangers jersey watches Carter and Terry with disgust. Excited, Tod speaks in a convert tone over Alex's shoulder. Alex looks up ahead of the metal detectors... As Alex and Tod pass through the metal detector, their eyes performing reconnaissance on Christa and Blake, the opening drum BLASTS of Boingo's "No One Lives Forever" OVERLAPS... CAMERA MOVES ALONG the awaiting passengers... Carter and Terry are making out, a step away from heavy petting... Blake and Christa are flipping through Parisian fashion magizines... Billy Hitchcock lays into a Burrito Supreme... CAMERA MOVES to an empty seat. Clear Rivers ENTERS FRAME and sits, struggling with her Walkman, coffee, books, and a cassette box handmarked "Boingo" (a cheat that We hear the song) As she places her stuff on the unoccupied seat beside her, a Paris guidebook falls on the floor, opened but face down. A passing, unidentified, student reaches down and hands her the book, still open and face down. The student continues down toward the observation deck. Clear looks at the opened guidebook. He stands at the gate window, looking out at the plane. CAMERA CREEPS AWAY from the plane... huge, seemingly incapable of flight and yet we unquestioningly trust our lives in this machine. Emotionless. Cold. Lifeless, and yet soon full of life. Alex takes a beat to consider... A P.A. ANNOUNCMENT breaks into the song... Really for the first time, Alex appears a bit tentative and pale. It is intensified by the return of the song... Tod nudges Alex toward the tunnel, the three boys start down the ramp, passing Mr. Murnau who checks his list, counting heads... CAMERA ADJUSTS, LEADING George, Alex and Tod through the aisles. Alex and Tod wince at the screaming child. George, however feels | Who did Alex switch seats with on the plane? | Two girls. |
Subsets and Splits